Episode 202 Unexpected and Wanting
by virtualdoe
Summary: Doe Finds out more about the Mysterious Theresa.


John Doe  
  
THE TRUTH WILL BE REVEALED......  
  
Virtual Season Episode #202. "Unexpected and Wanting"   
  
TEASER  
  
FADE IN:  
  
EXT. SUBURBAN HOUSE - NIGHT  
  
We see a bronze SUV pull up to the driveway. The lights   
turn off and the driver's side door opens. Robert Sanders   
(mid 40's) steps out of the vehicle, he closes the door and   
activates his car alarm. With his jacket in one arm and   
his briefcase on the other, he heads to the front door of   
his house.  
  
INT. SUBURBAN HOUSE - NIGHT  
  
The front door opens and Robert enters his home. The house   
is dark since its late at night. He places his briefcase   
on a chair near his front door after locking the front door   
padlocks. Then he proceeds up his stairs slowly, he looks   
really tired after a hard day's work. Robert walks slowly,   
loosening his tie, towards his younger daughter's room and   
very carefully opens her bedroom door. He peeks inside to   
make sure his 11 year old daughter, Sherry, is sleeping   
soundly. Its a ritual he does too often, since he doesn't   
get to see his family that much during the week. Robert   
carefully closes the door and heads to his older daughter   
Alice's bedroom. He opens her door and peeks inside,   
making sure she is sound asleep. His face smiling as he   
looks at her mess inside. He closes her door and proceeds   
to his bedroom where his wife is fast asleep. We see him   
open his door and close it behind him.  
  
We pull back from Mr. Sanders' bedroom door and after a few   
seconds we see his older daughter's door slowly open and   
her head peek out into the hall. Alice Sanders (mid teens)   
silently looks and listens in the direction of her parent's   
room to make sure they have really gone to bed. She then   
heads back into her room and closes the door.  
  
INT. ALICE'S ROOM - NIGHT  
  
Alice is careful to walk lightly around her room as she   
grabs her red jacket and moves towards her window. She   
gently opens it and heads out, pulling the window down   
behind her. She leaves the window a tad open for when she   
has to get back in.  
  
EXT. PORCH ROOF - NIGHT  
  
We see Alice head across the roof of her porch to the side   
of her house. Where she carefully climbs down a wooden   
hedge cover. As soon as she hits the ground she looks   
around making sure no one saw her, then she sprints down to   
the end of her block.  
  
EXT. SUBURBAN STREET - NIGHT  
  
Alice runs to the end of her block and turns around the   
corner. We see a 70's 4 door sedan parked down the side of   
the street. Its windows are up and covered with   
condensation and music from the car stereo can be heard   
from the inside. Alice comes up to the car from the   
passenger side and opens the door.  
  
INT. CAR - NIGHT  
  
Alice gets in as we see her boyfriend Jason at the wheel   
with his head tilted to the side, his face is concealed   
from where she is seating.  
  
ALICE  
Sorry I'm late. My Dad came in late   
as usual, I couldn't get away.  
  
Alice looks at Jason. Awaiting a response.  
  
ALICE (CONT'D)  
(shoving him)  
Hey you ass,..aren't you even   
listening to me?  
  
Jason's head tilts slightly forward touching the driver's   
side window. Alice just sits there for a second, still   
expecting a response, when she notices he's wearing his   
seat belt. Before Alice can say anything, Jason's head   
comes forward from his window and hangs forward with the   
rest of his body moving with the momentum and hanging just   
shy of the stirring wheel.  
  
ALICE (CONT'D)  
Jason?....Oh my god!  
  
Just then Alice notices what looks like a wire around   
Jason's neck, with a little blood trickling around it.  
  
ALICE (CONT'D)  
(backing away)  
Oh my GOD!...Jas....  
  
At that very moment we see a dark figure rise from the back   
seat just off Alice's view and a gloved hand with a white   
handkerchief reach around Alice's right side and cover her   
mouth before she can yell out. Immediately Alice gives out   
a muffled scream and begins to struggle and trash about the   
front seat. As she is struggling the dark figure's other   
hand comes around her left side and pulls her towards the   
back seat, her feet kicking about still.  
  
EXT. SUBURBAN STREET - NIGHT  
  
We see the car moving from side to side slightly, with the   
music still blaring from the inside. After a few seconds   
the car stops its shaking. Moments later we see the back   
passenger's door open and a dark figure dressed in black   
and wearing a dark stocking cap, step out. He calmly shuts   
the door and strolls around the back of the sedan towards   
the drivers side. He opens the drivers side door.  
  
(Close on the drivers side of the car) The dark figure is   
hunched over with his head inside the drivers side of the   
car, then he pulls out Jason's body and drops in on the wet   
pavement. The dark figure, with his face still unseen,   
gets in the car's drivers seat and shuts the door. We hear   
the car's engine come to life and slowly get into gear   
before slowly moving forward and down the dark street.  
  
We see the car driving further down the street and out of   
sight, we then pan down to where Jason's body was left   
laying face down on the road.  
  
FADE OUT.  
  
ACT ONE.  
  
FADE IN:  
  
A slide show of color images in the following sequence:  
  
---Images of desert warfare. Tanks shootiing, night vision   
images of soldiers firing their weapons.  
  
---Fighter jets firing their payloads fromm the air.  
  
---Blue background with a blurry image of a figure,   
engulfed in white light.  
  
---The Phoenix Staff, people rioting in thhe streets,   
buildings on fire, the Phoenix Staff.  
  
---Figure engulfed in white light, Karen'ss face, the   
Phoenix Staff, Alice Sanders terrified and struggling with   
a dark figure inside her boyfriend's car,......hold on   
Karen's Face.  
  
KAREN  
(soft echoing   
voice)  
Wake up John....You have to wake up.  
  
INT. HOSPITAL ROOM - DAY  
  
CLOSE ON - DOE  
  
Doe's eyes open suddenly. Doe lets out a sighing breath as   
we pull back slowly and see that he was asleep on a chair,   
using his jacket to cover himself. He slowly straightens   
himself in the chair, letting his eyes adjust to his   
surroundings. Doe wipes his eyes and slowly turns towards   
the rest of the room. SUDDENLY, Doe is staring at an empty   
hospital bed. Theresa is nowhere to be found!!.  
  
Doe's eyes widen, as he quickly gets up from his chair and   
looks around the empty hospital room. A look of complete   
disbelief and fear in his face, as he begins to imagine the   
worse. Doe moves to the room's door and is about to scream   
out when he hears water running inside the bathroom. The   
bathroom door is close, so Doe can't look inside to be   
sure. Doe is breathing heavily now as he is about to knock   
on the door when all of a sudden the bathroom door swings   
open.  
  
THERESA  
(surprisingly calm)  
Good morning. Hope I didn't wake   
you.  
  
Doe doesn't know what to say exactly. He's not sure how to   
react. All he can do is stand back as Theresa casually   
walks by him towards her bed. She's wearing the bath robe   
and the slippers that Doe bought for her, and her hair is   
wet from taking a shower.  
  
THERESA (CONT'D)  
The doctor came this morning and   
removed my I.V. So I could take a   
shower, finally...   
  
She sits down on the bed and looks at Doe with a curious   
face. A few seconds of silence passes.  
  
THERESA (CONT'D)  
I saw you sleeping there. I still   
couldn't believe it. The doctor said   
you've been siting there for 2 days   
now. Guess I have YOU to thank for   
these.  
(gesturing to her   
bathrobe and gifts)  
  
THERESA (CONT'D)  
(smiling)  
Well,...Aren't you going to say   
anything?  
  
Doe is still taken aback by the current situation. He   
seems at a loss for words. Doe has thought of so many   
things that he would say to her since that day on the   
ferry, but right now he's having trouble thinking of the   
right thing to say.  
  
JOHN DOE  
How....are you f...  
  
THERESA  
(answering before   
he could finish)  
Better.....Considering.  
  
Doe is still standing at the same spot. Trying to start a   
conversation.  
  
THERESA (CONT'D)  
Tommy are you Ok? You seem a   
little...different.  
  
Doe's face changes a bit. As if expecting for the bubble   
to burst.  
  
THERESA (CONT'D)  
I know its been a while but I sort   
of expected a little less distance,   
you know?  
  
In response to her remark, Doe immediately moves closer to   
her, trying not to make her feel uncomfortable.  
  
JOHN DOE  
(choosing his words   
carefully)   
I'm sorry, is just that...I'm not   
sure how...you would react to seeing   
me again...After, such a long time.  
  
THERESA  
I can see why you would feel that   
way....I never thought I'd see you   
again.  
  
We can see that Doe is analyzing the delicate situation in   
his head. Not sure if he should tell her the truth right   
away, he has decided to play along a bit longer and see   
where it takes him, at the risk of deceiving Theresa.  
  
JOHN DOE  
Did they,...Hurt you?  
  
THERESA  
They? You make them sound like   
neighborhood bullies. Tommy what's   
going.....  
  
She is interrupted by her room door swinging open and   
Doctor Harold Stevens (50's) entering the room. Theresa   
and Doe both turn to him.  
  
DR. STEVENS  
(to Theresa)  
Well, I see SOMEONE is feeling much   
better this morning.  
  
Theresa glances at the doctor briefly before looking back   
at Doe with a serious look. Doe does the same, wishing   
they hadn't been interrupted.  
  
DR. STEVENS (CONT'D)  
(extending a   
handshake to Doe)  
I'm Dr. Stevens, the resident   
physician.  
  
JOHN DOE  
(shaking his hand)  
John Doe.  
  
Just then, Doe realizes he may have made a mistake. He   
momentarily glances back at Theresa, and immediately   
catches a very confused look coming from her.  
  
DR. STEVENS  
(to Doe)  
I've already met this little lady,   
you were asleep I'm afraid. We've   
been analyzing her blood work and   
monitoring her vitals. And you'll   
be glad to know she is recovering   
nicely.  
  
Doe is listening to Dr. Stevens diagnosis while at the same   
time looking at Theresa from the corner of his eye.  
  
THERESA  
(to Dr. Stevens)  
Will I be able to leave today   
Doctor?  
  
DR. STEVENS  
If you really feel well enough. I   
don't see why not.  
  
THERESA  
(with an   
appreciative smile)  
Thank you doctor.   
  
JOHN DOE  
Doctor? Is there any risk of an   
allergic reaction or relapse from   
the antibiotics?  
  
DR. STEVENS  
(looking at   
Theresa)  
I think we're over that hurdle.   
She'll be fine.  
  
Doe looks at Theresa with a concerned look, then back at   
the doctor.  
  
JOHN DOE  
(shaking hands   
again)  
Thanks again doctor.  
  
DR. STEVENS  
You bet. I'll start processing the   
discharge.  
  
Dr. Stevens nods at both of them and leaves the room,   
leaving Doe and Theresa alone again. What follows is a bit   
of uncomfortable silence between them. Doe can tell that   
Theresa will be expecting some kind of explanation soon.   
Theresa is looking a Doe, confused but not as much as one   
would be in her situation.  
  
THERESA  
John Doe? You're trying to keep   
your anonymity against the medical   
staff Tommy?  
  
JOHN DOE  
(taking a seat)  
Not...exactly. If I'm right, then   
there's something you need to know   
about me.  
  
Theresa has an intrigued look on her face. She is sitting   
on the bed, hanging on Doe's every word.  
  
JOHN DOE (CONT'D)  
I don't exactly know who you think I   
am, or how you and I know each   
other.  
  
THERESA  
(calmly)  
What? I don't...What are you   
saying?  
  
JOHN DOE  
(speaking   
carefully)  
I don't know who you are. I don't   
know who Tommy is. I can't remember   
anything before seven months ago.  
  
Doe is half expecting Theresa to either call him a liar or   
run him out of her room. He's just about ready to beg for   
her attention while he attempts to elaborate. But instead,   
she just sits on the bed, staring at him, looking to be   
sorting things out in her head.  
  
THERESA  
(in a low voice)  
Oh my God. You really don't   
remember me do you?  
  
Doe looks confused at her reaction. He clearly was not   
expecting her to be so calm.  
  
JOHN DOE  
(trying to explain)  
I'm sorry. I know its hard to   
believe. But I'm...  
  
THERESA  
I THOUGHT something wasn't right.   
When I woke up and saw you   
there..... I thought it was just   
the medication.  
  
JOHN DOE  
What do you mean? When I was   
sleeping?  
  
THERESA  
Your pattern. It felt different   
somehow.  
  
JOHN DOE  
My pattern? What are you talking   
about?  
  
Theresa stands up, grabs her things from the side of the   
bed and proceeds towards the bathroom. She looks a bit   
distraught now as she walks in.  
  
THERESA  
I can't stay here anymore.  
  
JOHN DOE  
(getting up)  
What? Wait a minute, what were you   
saying before?...  
  
THERESA  
(from inside the   
bathroom)  
Could you give me a ride somewhere?  
  
Doe is still trying to understand as he moves towards the   
bathroom. The door is partly open.  
  
JOHN DOE  
(stopping at the   
door)  
Look, what did you mean....  
  
Doe looses his train of thought at the reflection of   
Theresa's bare back on the bathroom mirror. She has   
removed her robe and is in the process of putting on a   
sweater. He is just staring now.  
  
THERESA  
(from behind the   
door)  
I need to pick up some things.   
Won't take long.   
  
Doe steps back after a few seconds, realizing what he was   
doing. He's in deep thought as Theresa peeks her head from   
behind the door.  
  
JOHN DOE (B/W POV)  
  
---Theresa's face, in color, standing behiind a black and   
white door and frame.   
  
THERESA (CONT'D)  
(with an innocent   
smile)  
If that's Ok with you... Mr. Doe.  
  
Theresa keeps smiling as she ducks her head back inside,   
shuts the door and continues changing. Doe stares at the   
door, a look of intrigue and confusion on his face.  
  
CUT TO:  
  
EXT. SANDERS' RESIDENCE - DAY  
  
Police vehicles are parked outside the house. Officers are   
outside marking off the area with yellow caution tape as   
neighbors, spectators and news reporters look on.  
  
INT. SANDERS' RESIDENCE - DAY  
  
We see Mr. and Mrs. Robert Sanders sitting on their living   
room couch. Robert consoles his wife, who is crying and   
trying to stay calm, as they are being interviewed by   
Seattle P.D. Detective David Tate(40's). Other police   
personnel can be seen around the house, carrying evidence   
and taking pictures of the surroundings.  
  
DETECTIVE TATE  
Now Mr. Sanders, when you got home   
from work last night, your family   
had already gone to bed, correct?  
  
ROBERT SANDERS  
(looking at his   
wife and keeping   
his composure)  
That's right. I went upstairs after   
locking the front door and checked   
on the girls before going to bed, as   
I always do.  
  
DETECTIVE TATE  
(looking at his   
note pad)  
And you're certain you saw Alice   
asleep in her bed. That was at   
around 12:30pm, right?  
  
ROBERT SANDERS  
Yes...Look Detective, my wife and I   
have already answered this   
questions. And we just don't   
understand why do we have to keep   
going over this.  
  
DETECTIVE TATE  
Mr. Sanders, I understand how   
frustrating this line of questioning   
might be, but we have to look at the   
situation from every possible angle.   
Your daughter Alice was in her bed   
last night and this morning she was   
gone. There was no evidence of   
breaking and entering, but we are   
seeing signs that at some point   
after you and your wife went to bed,   
she exited through her bedroom   
window and met with Jason Keys. A   
boy you said she was seeing.  
  
MRS SANDERS  
(sobbing)  
How...how do you know she was with   
him?..Maybe she's at a rave   
somewhere,  
(looking at her   
husband)  
Like she did last fall, remember   
honey?  
  
Mr. Sanders just smiles at her slightly and holds her hand.  
  
MRS SANDERS (CONT'D)  
(to Detective Tate)  
She was grounded for a month. But   
she's always been headstrong. Maybe   
she's somewhere else, she could   
still come back. Right honey?  
(looking back at   
her husband)  
  
Detective Tate tries to reason with the grieving mother.  
  
DETECTIVE TATE  
I don't think that's possible Mrs.   
Sanders, I'm sorry....  
  
MRS SANDERS  
(with a worried   
smile)  
Nancy,...please.  
  
DETECTIVE TATE  
All right. Nancy. We found Jason   
Keys' car abandoned in an empty lot   
not too far from here....  
  
Detective Tate pauses for a bit, searching for the right   
words.  
  
DETECTIVE TATE (CONT'D)  
(looking at Mrs.   
Sanders)  
We found Alice's purse in the car.   
There was a letter inside.  
  
Mr. and Mrs. Sanders look at each other, a very worried   
look on their faces.  
  
ROBERT SANDERS  
What do you mean a letter? Is it a   
ransom note?, Wha...what did it say?  
  
MRS SANDERS  
(holding her   
husband tighter)  
Oh my god....   
  
DETECTIVE TATE  
I'm not at liberty to say at this   
time, but rest assured that the   
letter leads us to believe that she   
was abducted and we're going to do   
everything to find her. I promise.  
  
Mrs. Sanders is unable to hold back tears as she buries her   
head on her husband's chest. Robert just holds her tight   
and sobs with grief. Detective Tate sits across from them,   
trying to give them hope.  
  
DETECTIVE TATE (CONT'D)  
I know this is hard for you both.   
But please understand that we have   
to ask you some more questions about   
your daughter. Questions that might   
be a hard for you to answer.  
  
At that moment, Sherry Sanders, the youngest daughter comes   
downstairs and walks into the living room. She looks like   
she has been crying for a while.  
  
SHERRY  
Mom?....  
  
Mrs. Sanders immediately stands up and walks towards her   
daughter. She hugs her and consoles her as they both sob   
in each other's arms. Robert Sanders can only sit and   
watch while he ponders on Detective Tate's questioning.   
Detective Tate also watches mother and daughter consoling   
each other.  
  
ROBERT SANDERS  
(with a crackling   
voice)  
Detective?.....  
  
Detective Tate turns to look at Mr. Sanders.  
  
CLOSE ON - ROBERT SANDERS  
  
ROBERT SANDERS (CONT'D)  
(sobbing now)  
You find my daughter.....You bring   
her home. You bring her home   
Detective.  
  
We see Detective Tate take the father's words to heart, as   
he nods in a respectful manner.  
  
CUT TO:  
  
INT. VAN - DAY  
  
We see a close shot on a closed eyelid. After a few   
seconds the eyelid opens revealing a blue eye, as it begins   
to move around we pull back slowly and see that we are   
looking at Alice Sanders's face. She has duck tape over   
her mouth and is lying on the back of a dirty van. Her   
hands behind her back are bound and chained to a bolted   
down loop on the bed of the van. We can see the van moving   
from side to side and hear its tires riding on the road.  
  
Alice gets her head up and tries to get up, but is   
immediately held down by her chains. She can only manage   
to sit slightly as she finds that her legs are shackled as   
well. The chain goes from her hands down through the loop   
and to her legs, not giving her too much room to move.   
Alice looks around her and is able to see the back of the   
driver of the van. The driver is alone and wearing a dark   
stocking cap with sunglasses. He's wearing a dark jacket   
and gloves and is calmly driving the van paying no   
attention to his hostage. We cannot make the driver's   
facial features. Alice begins to moan in fear as she   
realizes the reality of her predicament. Her eyes water   
and begins to cry. The mysterious driver pays absolutely   
no attention to her, almost as if she's not even there.   
  
EXT. RURAL HIGHWAY - DAY  
  
We see a black dirty van driving down the highway, past a   
rest stop on mile marker 125. Down the road past a road   
sign with "Pender Falls Next Right" written on it. The van   
begins to slow down before turning right onto a dirt road.  
  
INT. VAN - DAY  
  
The back of the van rocks back and forth as we see Alice   
still shackled and scared out of her mind. She looks   
towards the front of the van to see the back of the driver,   
beyond him past the dusty dirty windshield she can barely   
see what looks to be a gravel road in the middle of a   
wooded area. Alice can see the reflection of the drivers   
sunglasses and black cap from the rear view mirror. But   
once again, the driver does not even gesture towards her   
presence in the back of the van. She cannot see the   
driver's facial features. She gets even more scared as she   
notices the driver slow down and turn the wheel to the   
left.  
  
EXT. PENDER FALLS ROAD - DAY  
  
The black van turns onto a side road and proceeds down a   
wooded road until we come to an old wood house. It is two   
stories high with a concrete foundation. There's an old   
stone well out back with junk and clutter in the nearby   
wooded area. A couple of junk cars can be seen on the   
property as the black van comes to a stop in front of the   
old house.  
  
INT. VAN - DAY  
  
We see Alice's eyes wide open with fright as she sees the   
driver put the van in park and turn off the engine. Alice   
watches the driver just sit there for a few seconds. She   
muffles a few incoherent words, but the driver just sits   
there. After a few seconds more the driver can be seen   
looking up at his rear view mirror. All poor Alice can see   
is the driver's sunglasses reflect on the mirror. It gets   
real quiet as the driver seems to be staring at Alice   
through the rear view mirror. Alice just sits there and   
tries to remain calm. Suddenly the driver opens the door   
making an incredible screeching noise as it sounds like the   
door hinges of the van are completely rusted. Alice jumps   
as the van's door is slammed shut, leaving her to wait for   
what comes next.  
  
EXT. HOUSE IN THE WOODS - DAY  
  
The back of the dark figure with a stocking cap and   
sunglasses on, is all that we see as he walks calmly from   
the van towards the front door of the house. The man opens   
the door and walks inside.  
  
INT. VAN - DAY  
  
Alice is breathing heavy now as she tries to see what she   
can out the windshield of the van, but again her chains   
keep her from getting too far up front. Suddenly she hears   
something outside. She tries to make little noise as she   
listens to her surroundings. She hears only the wind in   
the woods and what sounds like running water nearby.  
  
Suddenly the back of the van opens up, scaring Alice half   
to death as she turns and sees a white man (50's), wearing   
dark clothes and sporting a buzzed haircut. He has the   
mean scared face of a lumber jack. The man grabs the   
chains and pulls, Alice is already screaming through her   
duck tape, but can do very little since her hands are   
behind her back. Alice can only keep screaming as she sees   
the retched man put a white handkerchief over her face.   
Kicking about and with the tape over her mouth all she can   
do is breathe in the chloroform as she slowly begins to   
pass out again. We hold on the abductor's face as he   
smiles at the site of Alice's unconscious body.  
  
FADE OUT.  
  
ACT TWO.  
  
FADE IN:  
  
EXT. HOSPITAL - DAY  
  
We see Doe standing outside the hospital entrance with his   
Shelby Cobra parked nearby. He's talking into his cell   
phone.  
  
JOHN DOE  
(into his cell)  
She's being discharged now. She   
asked me to give her a ride.  
  
INT. SEATTLE POLICE STATION - DAY  
  
Frank is sitting at his desk with a pile of case files in   
front of him. He's talking to Doe on his phone.  
  
FRANK  
So what the hell happened? She woke   
up and said.."Hi Tommy, nice to see   
you. Could you give me a ride   
somewhere?"  
  
JOHN DOE  
(voice on the   
phone)  
Not quite.  
  
FRANK  
What do you mean? Come on give me   
the details.  
  
EXT. HOSPITAL - DAY  
  
Doe is walking by the front entrance to the Hospital and   
takes notice of Theresa being wheeled out on a wheel chair   
by an orderly. He is still speaking to Frank on his cell.  
  
JOHN DOE  
(into his cell)  
I'll tell you when I know more, and   
hey, tell your friends I said thanks   
again for keeping an eye on her for   
me.  
  
FRANK  
(voice on the   
phone)  
Sure. You be careful John.  
  
Doe flips his cell phone closed and waits as Theresa is   
wheeled outside of the hospital. The orderly behind   
Theresa stops just outside, steps around the front of the   
chair and helps her out of her chair.  
  
THERESA  
(to the orderly)  
Thank you.  
  
She takes notice of Doe standing there looking a bit   
nervous about the whole situation. He steps to the side of   
his sports car and opens the passenger door.  
  
JOHN DOE  
(with a sly smile)  
Your chariot awaits.  
  
THERESA  
(looking a bit   
surprised)  
This is YOUR car?  
  
JOHN DOE  
(smiling)  
That's right.  
  
THERESA  
Well aren't YOU full of surprises   
today.  
  
Theresa walks by Doe and proceeds to take a sit inside the   
sports car. Doe gently closes the passenger door, before   
walking enthusiastically around the car and getting into   
the driver's seat. Doe turns the key and the car's engine   
comes to life.  
  
JOHN DOE  
(looking at   
Theresa)  
Ok....Where to.  
  
We see Theresa smiling back at Doe.  
  
CUT TO:  
  
EXT. HIGHWAY - DAY  
  
Doe's car is riding down the highway on a beautiful sunny   
day. The top is down as Theresa's hair dances with the   
breeze.  
  
INT. DOE'S CAR - DAY  
  
JOHN DOE  
I saw on the registry that your last   
name is Kirkland. Theresa Kirkland?  
  
THERESA  
Is just a name I've been using.  
  
Doe gets a curious look on his face. A short moment of   
silence passes.   
  
JOHN DOE  
So...How long you've been in   
Seattle.  
  
Theresa smiles a bit at his question.  
  
THERESA  
I don't think that's what you really   
want to ask me.  
  
Doe looks at Theresa. It is obvious he's realizing that   
there's something more to her than just a face from his   
past. Each time he has tried to indirectly get some   
information from her, she has been able to see right   
through him.  
  
JOHN DOE  
(looking at the   
road ahead)  
What do I want to know then?  
  
THERESA  
(with a serious   
look towards Doe)  
Who you are?...Who I am?...How did   
this happened to you? I'm I Right?  
  
Doe looks at Theresa. Amazed at how easy she's making all   
of this for him.   
  
JOHN DOE  
That's right.  
  
THERESA  
I can't tell you how strange all   
this is for me. Ever since I've   
known you, you always seemed to have   
all the answers. Nothing surprised   
you. And now, you seemed so lost.   
So......Innocent.  
(shaking her head   
in confusion)  
  
THERESA (CONT'D)  
It's like you're a different person.  
  
Doe looks at his companion and then back at the road.  
  
JOHN DOE  
Maybe I'm not the man you knew. It   
has been theorized that we all have   
at least one twin living within each   
generation....and according to the   
Journal of Science...  
  
THERESA  
(amused)  
Oh please!...   
(getting serious   
now)  
It is you. Take my word for it.  
  
After hearing this, Doe begins to put away all his   
remaining doubts.  
  
JOHN DOE  
If that's the case. Then I need to   
know everything you know. About ME,   
and about the people that took you.  
  
THERESA  
I wish it were that simple.  
  
JOHN DOE  
Listen, you're not telling much. I   
mean those people almost killed you   
because of me.  
  
THERESA  
You think I don't know that. The   
only reason I'm still alive is   
because they want it that way. God,   
I was a fool to think I could   
disappear. Believe me the less you   
know about them, the better.  
  
Doe has just about enough as he could take as his long   
frustration gets the better of him. He pulls to the side   
of the road a bit suddenly, bringing his car to a dead   
stop. Theresa is looking down at her feet, not too   
surprised at his reaction. Doe stares straight ahead with   
both hands on the wheel. A short moment of silence passes   
before either of them speaks.  
  
JOHN DOE  
Theresa. Seven months ago I   
LITERALLY woke up on a deserted   
island. Naked as a newborn baby,   
without any clue as to how I got   
there or most importantly, Who I   
was?, Where I've been? I knew   
nothing about myself.  
  
Theresa is looking at Doe now, listening to his every word   
in amazement.  
  
JOHN DOE (CONT'D)  
Up until that day I saw you on the   
ferry, I thought no one knew who I   
was. I've been searching for you   
ever since. Up until today, every   
lead that I've followed has been a   
lie. This people, the Phoenix group   
have been behind every single lie.   
They've killed two people who tried   
to help me, they tried to kill you.   
Now...I have to know. I have to   
know that I'm not part of them.   
YOU, are the only one who can help   
me. Please. I'm asking you to help   
me.  
  
Theresa is looking at Doe with a very caring look. She   
seems to feel his pain as she turns to glance at the road   
up ahead. Doe is doing the same, determined not to move an   
inch until Theresa gives him an answer.  
  
THERESA  
Tommy,....I'm sorry. Is just that,   
this whole situation is so   
bizarre...I'm not sure what to do   
next.  
  
Doe looks at her with a curious look.  
  
THERESA (CONT'D)  
Could you give me some time to think   
about it? I promise you is with   
good reason.  
  
Doe is in a very pensive state now, he ponders his next   
move.  
  
JOHN DOE  
(with a serious   
look)  
Do you mind if we make a brief stop?   
There's something I have to do.  
  
Theresa stares at Doe with an appreciative look. She knows   
that Doe has a right to be frustrated and she seems to be   
grateful for his patience and understanding.  
  
THERESA  
Sure.  
  
Doe gives her a smile as he revs up the engine and drives   
on.  
  
CUT TO:  
  
EXT. CEMETERY - DAY  
  
We see Doe's car pull up to St. Augustine Cemetery. He   
drives through the main entrance and proceeds along the   
road past rows and rows of headstones. Eventually Doe   
comes to a stop near a grave site that is in the process of   
being filled. A group of 3 men can be seen preparing a   
casket to be interred onto the ground. Doe pauses as he   
looks on.  
  
INT. DOE'S CAR - DAY  
  
JOHN DOE  
(with a serious   
look)  
I won't be long. I just have to pay   
my respects to someone....Someone   
who tried to help me.  
  
THERESA  
Michael.  
  
This surprises Doe.  
  
JOHN DOE  
You knew him. Didn't you?  
  
THERESA  
(with a somber   
face)  
No. But you did. And he did help   
you. He helped me too.  
  
Doe looks at Theresa with the familiar look he's been   
giving her since this morning. He can see that she's   
holding back a lot more than she's telling him. With that   
same look he opens his door to get out. Theresa gets out   
too as we see Doe slowly walking towards the grave site,   
she follows close behind, her hands crossed and her head   
low out of respect to Doe's friend.  
  
EXT. MICHAEL'S GRAVE SITE - DAY  
  
Doe gives a nod to the 3 cemetery workers who are in the   
process of placing the casket into position to be lowered.   
When they are ready to lower it, they wait for Doe to give   
the word. Doe takes this as his que to say some final   
words. As he prepares to give his eulogy, Theresa and the   
workers bow their heads.  
  
JOHN DOE  
The purpose of a eulogy is to honor   
a person's life in order make his   
death less tragic and more   
acceptable. Usually, the task of   
giving this eulogy is done by   
someone close to the deceased. For   
that reason, I wish I were that   
person. I believe, that given   
enough time, I could have been.  
  
Theresa lifts her head to watch Doe.  
  
JOHN DOE (CONT'D)  
I wish I could say something that   
would be considered memorable, but   
only poets can do that. Churchill   
once wrote, "If you need to say   
something beautiful and memorable,   
you can always quote Shakespeare".   
So here goes, "Good night sweet   
prince; and flights of angels sing   
thee to thy rest".  
  
Doe's eyes are watered a bit as he pulls a harmonica out of   
his jacket pocket. He walks towards the casket and lifts   
the lid carefully. Not all the way, just enough to slip   
the harmonica inside, Doe promptly closes the lid again.   
He then steps back and gestures to the workers to begin   
lowering Michael's casket.  
  
As the casket is lowered Doe looks on, Theresa can be seen   
behind him. She glances over to Doe, a somewhat intrigued   
look on her face.  
  
CUT TO:  
  
INT. SEATTLE POLICE STATION - DAY  
  
Detective Frank Hayes can be seen working through case   
files at his desk and getting caught up on ongoing   
investigations. Then we see Lt. Jamie Avery come out of   
her office and head towards him.  
  
LT. AVERY  
Stop whatever you're doing Frank.   
We have a briefing in 10 minutes.  
  
FRANK  
What? What are you talking about?  
  
LT. AVERY  
We've been asked to join the   
Sanders's kidnapping case.  
  
FRANK  
The teenager from South Bend? Why   
are they asking for help?  
  
LT. AVERY  
That's what we're going to find out.  
  
INT. STATION CONFERENCE ROOM - DAY  
  
We see Detective David Tate standing in front of an   
audience of police officers and detectives, an audience   
including Frank and Jamie. Detective Tate is standing with   
a series of files and slides in front of him. He is   
handling an overhead with a big white screen behind him.   
Frank leans in to say something to Jamie.  
  
FRANK  
(in a low voice)  
Why didn't you tell me David Tate   
was leading the Sanders   
investigation?  
  
LT. AVERY  
(in a low voice)  
Because it wasn't worth mentioning,   
Ok?  
  
FRANK  
(not believing her)  
Ok.  
  
Det. Tate prepares to bring the meeting to order.  
  
DETECTIVE TATE  
All right. If I could have   
everyone's attention. I'd like to   
thank you all in advance for your   
time and efforts. I know you all   
have questions but please save them   
until the end of the briefing.  
  
Det. Tate gets the first slide ready on the overhead and   
gestures to have the room lights dimmed.  
  
DETECTIVE TATE (CONT'D)  
(turning on the   
overhead light)  
At approximately 12:20AM this   
morning, the body of one Jason Keys   
was found near the corner of Justin   
Dr and Church St in the Waldon   
Estates Subdivision in South Bend   
county. Evidence indicates that he   
was strangled with a length piece of   
thin wire.  
  
Det. Tate places the picture Jason's dead body on the   
special overhead which projects the picture to the white   
screen above.  
  
DETECTIVE TATE (CONT'D)  
After informing his parents, an all   
points was issued for his 73   
Tempest, which was found in an empty   
lot a few miles away. A search   
inside the vehicle yielded signs of   
a struggle and a female purse   
belonging to one Alice Sanders.   
Nothing seemed to be taken from the   
purse, but inside we found this.  
(placing a picture   
of an envelope with   
the word POLICE   
written on it on   
the overhead)  
This letter, ladies and gentlemen is   
the reason we are organizing this   
task force. We have confirmed with   
the Sanders family, their oldest   
daughter was in bed around midnight   
last night and this morning she was   
gone.  
  
Det. Tate switches the slide to a high school picture of   
Alice Sanders.  
  
DETECTIVE TATE (CONT'D)  
We have also confirmed that she was   
going out with Jason Keys.   
Therefore we think that Alice   
Sanders left her home, shortly after   
midnight and met with her boyfriend   
Jason, who may have parked his car 2   
blocks from her house. At some   
point after their encounter,   
possibly after she realized he was   
dead, Alice Sanders was overpowered   
and taken by one or more assailants.  
  
Det. Tate pauses for a moment.  
  
DETECTIVE TATE (CONT'D)  
Any questions so far?  
  
LT. AVERY  
(from the side of   
the room)  
What did the letter say?  
  
Det. Tate gives her a serious look as he proceeds to put   
another slide on the overhead.  
  
DETECTIVE TATE  
Whoever wrote the letter, called   
himself Avatar.  
  
Immediately some people in the audience begin taking   
amongst themselves. Frank and Avery give each other a   
surprised look. On the big screen a copy of the letter can   
be seen. It is written in beautiful penmanship, the kind   
you see in Hallmark cards. All written in free hand.   
  
DETECTIVE TATE (CONT'D)  
The letter reads as follows:  
  
" This is Avatar speaking. After a long period of sleep,   
my thirst for killing has gotten the better of me. As a   
result, poor little Jason Keys and Alice Sanders have   
become the instruments of my return. Now, before you all   
start screaming copycat killer, I assure you it is ME.   
Whether you all choose to believe me or not, I leave up to   
you. As you can see by now, nothing can be done for young   
Jason Keys, but little Miss Alice Sanders still has a   
chance. Her life is now in the hands of the Seattle Police   
Department, and the clock is ticking boys and girls, so   
I'll get right to the point. At midnight tonight, I will   
cut Alice's throat from ear to ear, that is unless you can   
stop me in time. And if you doubt whether this is for real   
or not, just ask Miss Sandra Allison from San Francisco.   
She'll tell you the extent of my conviction. If you wish   
to play the game, you will have to follow my rules, which   
is only one; Tell the press about me, by 7:00PM tonight.   
Refuse to do so, and I'll gut her by prime time. That's   
all I ask. In return, I have given you the tools to   
apprehend me. Enclosed you will find a cipher and a map of   
your beautiful city. The map contains symbols found on the   
cipher. Crack the code and you will find where little   
Alice is being kept. If you don't solve the riddle, you'll   
still find her, but not the way her parents remember her.   
I leave it up to you. Tick, Tock, Tick, Tock."  
  
Det. Tate pauses as he looks around the room. Frank and   
Avery have a common stunned look. Everyone in the room   
sits in silence.  
  
DETECTIVE TATE (CONT'D)  
I think everyone here knows or has   
heard about the "Avatar Killings" at   
one time or another. But I'll give   
you guys a refresher course anyway.  
  
Det. Tate changes the slide on the overhead to another   
which shows newspaper clippings and sketches of different   
types of male suspects.  
  
DETECTIVE TATE (CONT'D)  
Avatar. Also known as the Avatar   
Killer. He's been called one of the   
most methodical, ruthless and   
evasive serial killers in history.   
From the Summer of 1969 until the   
Fall of 1974, he was responsible for   
the death of 48 people. People from   
all walks of life, different ages,   
genders, and race. His killing   
spree spread over the major cities   
of New York, Houston, Denver and   
San Francisco. His method of   
killing his victims varied, he   
killed by either shooting, stabbing,   
torturing, or strangulation. He   
would kill his victims in daylight   
or at night. In the city or in the   
country. He would abduct his   
victims or simply kill them where he   
found them. No other serial killer   
has been as diverse as Avatar. Only   
one of his victims ever survived his   
attacks. A 23 year old nun in New   
York. She was ironically one of his   
first victims in 1969. She   
disappeared a month after her   
attack. No one has seen her since.  
  
Every one in the room is hanging on his every word. At the   
same time, Lt. Avery seems a little anxious to get on with   
the investigation.  
  
DETECTIVE TATE (CONT'D)  
Avatar would send letters addressed   
to the police about once every 2 to   
3 killings. A total of 28 letters   
have been archived as being from   
Avatar. Each letter contained a   
cipher of symbols. Avatar claimed   
that the cipher contained his   
current whereabouts and the means to   
catch him. None of his ciphers were   
ever decoded. His last victim was   
16 year old Sandra Allison, she was   
taken while she was walking home   
from school one October afternoon.   
A letter was found inside her school   
bag. It told the San Francisco   
police that the girl would be his   
last victim for awhile, and that if   
they did not break the code on the   
cipher, she would be found with her   
throat slit the next day. SFPD were   
unable to crack the code, and the   
next day, the body of Sandra Allison   
was found in an abandoned house near   
the bay.  
  
A deep look of concern overtakes everyone in the room  
  
DETECTIVE TATE (CONT'D)  
Avatar was never heard from again.   
Of course over the years, there have   
been a few crackpots who've claimed   
to be Avatar, but each was quickly   
disproved.  
  
FRANK  
And what makes this guy any   
different?  
  
DETECTIVE TATE  
He may be a copycat after all. But   
a quick writing analysis of the   
Alice Sander's letter yielded a 93%   
match to one of the Avatar letters   
in the archives.  
  
This gives Frank and the others a better understanding of   
the urgency of the situation.  
  
LT. AVERY  
Any luck with the cipher?  
  
DETECTIVE TATE  
Still been analyzed. But we can't   
afford to wait around. And the   
brass over at city hall have   
approved the complete cooperation   
from all police agencies on this   
matter. We have a detailed map of   
Washington with a number of key   
symbols marking different areas   
around the Seattle area. This is   
the map given to us by the abductor.   
And we believe we have...  
(looking at his   
watch)  
Less than 7 hours to find Alice   
Sanders. Now, you will all be given   
a copy of the map marking a   
designated city block area, your   
task will be to do a thorough search   
of that area. I know that this may   
all seem like we are knocking on   
every door hoping to get lucky, but   
its the best we can do with the   
amount of time we have. And we are   
coordinating with every precinct in   
the city. We're not taking any   
chances on this one. For all   
intense and purposes, we are   
treating this case as if he is the   
real Avatar. Any questions?   
  
Short pause as there are no questions from the group.  
  
DETECTIVE TATE (CONT'D)  
In that case, I thank you all again,   
and you can now get your assignments   
from the staff sergeant.  
  
With that, the briefing ends and the audience starts making   
their way out of the room. Lt. Avery and Det. Tate   
exchange a sideways glance as Avery walks by and he gathers   
his things.  
  
INT. LT. AVERY'S OFFICE - DAY  
  
Avery enters her office and proceeds to sit at her desk.   
Moments later Frank peeks his head in through the open   
door.  
  
FRANK  
You Ok boss?  
  
LT. AVERY  
(little annoyed at   
the implication)  
I'm fine.  
  
FRANK  
(stepping inside)  
Want to talk about it?  
  
LT. AVERY  
(trying to end the   
discussion)  
Frank.....There's no need. We need   
to get out there.  
  
At that moment Det. Tate knocks on the open door, signaling   
that he wants a word. Frank turns around and steps aside.  
  
DETECTIVE TATE  
A minute of your time Lieutenant?  
  
After noticing Det. Tate, Lt. Avery straightens herself up   
in her chair.  
  
LT. AVERY  
(to Frank)  
That's all Frank. I'll see you out   
there.  
  
Frank nods in agreement at Lt. Avery and gives Det. Tate a   
quick eyeball to eyeball look as he steps out. Det. Tate,   
who is holding some files in his hand gently closes the   
door to the office and slowly proceeds to take a seat in   
front of Lt. Avery's desk. His files are in his lap.   
There's a short silence as they both look at each other.  
  
DETECTIVE TATE  
(glancing around   
the room)  
I see you got Terry's old office.  
  
LT. AVERY  
What can I do for you Detective?  
  
DETECTIVE TATE  
Jamie, my reason for being here is   
strictly job related. Ok?. I know   
I'm not welcomed here.  
  
LT. AVERY  
Your past history is the last thing   
we need to be talking about   
DETECTIVE. You're here asking for   
our help in your investigation, and   
you're going to get it. Now, if   
there isn't anything else, I got   
work to do.  
  
Det. Tate takes that as his que to reach into his folder   
and pull out a file.  
  
DETECTIVE TATE  
Actually, there is something else,   
LIEUTENANT. As you probably know,   
Avatar always stamped his letters   
with some type weird symbol. A   
different symbol for each letter.   
The Alice Sanders letter had one   
too.  
  
With that, Det. Tate tosses a photo on the desk, in front   
of Lt. Avery. She gives Det. Tate an annoyed look as she   
takes the picture and examines it. Her look turns very   
serious, then she glances back at Det. Tate. He has a sly   
smile on his face now.  
  
DETECTIVE TATE (CONT'D)  
What can you tell me about the man   
you call; John Doe?  
  
We hold on Lt. Avery's face for a moment. She has a   
surprised look on her face. We switch to her point of view   
and finally see the photo she is holding in her hand. The   
photo shows the very distinct circular symbol of John Doe   
on the back of the Alice Sanders' letter.  
  
CUT TO:  
  
INT. DARK BASEMENT - DAY  
  
The faint muffled sounds of Alice Sanders moans can be   
heard as we move around a decrepit, dirty dark basement.   
We pan around until we stop on Alice, with her hands still   
shackled and raised above her head. The chains on her   
hands are looped around a metal hook near the basement   
ceiling. She is awake now, a look of complete terror on   
her face. She is unable to move or turn completely around   
as she is hanging from the ceiling support. Suddenly she   
hears the sound of a door opening above her, she then hears   
the sounds of footsteps getting closer as we see a dark   
figure coming down the steps behind her.  
  
Alice is unable to turn around to see the figure but she   
knows he's there. Her moans become increasingly louder as   
she becomes even more scared because she knows there is   
someone there with her now. Alice jerks back suddenly as   
the same lumber jack face man from before appears before   
her. The man has a cold stare as he watches her, he then   
reaches towards her face and as Alice tries to turn her   
face away in fright he tugs away the duck tape from her   
mouth. Alice can now speak.  
  
ALICE  
(crying and   
sobbing)  
Please dont' hurt me....please....  
  
Lumber jack man just stares at her without saying a word.   
He then proceeds to slowly touch her face, which   
immediately terrifies her as she continues to cry.  
  
ALICE (CONT'D)  
(crying)  
NO!...please...Please don't hurt me.  
  
Lumber jack man's hands look very rough in comparison to   
Alice's skin. He begins to move his face closer to Alice's   
face, as if he is preparing to kiss her. Alice becomes   
even more agitated as he does so and tries to pull away but   
Lumber jack man holds her face still. Suddenly just before   
he is about to kiss her, he stops and looks above him.   
After a few seconds he looks back into Alice's eyes and   
lets go of her face. Lumber jack man then proceeds to   
slowly walk back the way he came and up the stairs to the   
upper part of the house. The door slams shut, leaving   
Alice crying down in the basement. We hold on Alice's   
crying face.  
  
FADE OUT.  
  
ACT THREE.  
  
FADE IN:  
  
EXT. SUBURBAN STREET - DAY  
  
We see Doe's car pulling up to a house in a suburban street   
full of many different houses. Theresa sits next to him as   
he puts the car in park and shuts down the engine. Doe is   
looking to his left at the 2 story green house, Theresa is   
staring at it too. She gets out through the passenger side   
as Doe gets out too. Theresa walks slowly towards the   
front door of the house, looking around for something, or   
someone.   
  
JOHN DOE  
This is your house?  
  
THERESA  
(looking back at   
Doe)  
I've been staying here for a while.  
  
Theresa walks up the steps and onto the porch. Doe follows   
behind her. Theresa stops at the door and proceeds to ring   
the doorbell. She moves about the porch, looking inside   
the windows.  
  
JOHN DOE  
You lived here with someone?  
  
THERESA  
(looking at Doe)  
Yes.  
  
Theresa rings the doorbell again. Doe looks kind of   
nervous as to what may happen next. Theresa is a little   
impatient as she moves to look in one of the windows again.   
At that moment the front door opens and the face of Sarah   
Parkinson (early 50's) is staring at Doe.   
  
SARAH  
Yes? Can I help you?  
  
Doe just stares at her, while Theresa looks on from the   
side of the porch with a smile.  
  
THERESA  
Hi Doodle Bug.  
  
Sarah turns immediately to Theresa, who she hadn't seen   
standing there. An overjoyed look fills Sarah's face.  
  
SARAH  
Oh my God in Heaven!  
  
Sarah rushes over to Theresa and gives her a big long hug.  
  
SARAH (CONT'D)  
Oh child, thank God you're all   
right.  
  
THERESA  
I'm fine. You shouldn't worry so   
much.  
  
SARAH  
Well you disappeared all of a   
sudden! I didn't know what to   
think. I mean, you told me of what   
could happen, but I was never   
prepared....  
  
Sarah stops short after seeing Theresa gesture to Doe, who   
is still standing on the porch.  
  
SARAH (CONT'D)  
Oh my word! I'm sorry, where are my   
manners.  
  
THERESA  
Sarah I'd like you to meet a friend   
of mine. Thomas And.....  
  
Theresa pauses as Doe gives her a surprised look. Theresa   
seems as if she has said something she did not intend to.   
  
THERESA (CONT'D)  
Thomas Anderson.  
  
SARAH  
You're Tommy Anderson? My God, I've   
heard so much about you.  
(extending her hand   
out to Doe)  
  
Theresa looks a bit embarrassed, Doe notices her   
expression.   
  
JOHN DOE  
(shaking her hand)  
Nice to meet you ma'm.  
  
SARAH  
Please! Call me Sarah.  
  
JOHN DOE  
Ok, Sarah.  
  
SARAH  
(to both visitors)  
Now come on, what are we standing   
around here for?. Lets go inside, I   
want to hear everything that   
happened.  
(entering her home)  
  
JOHN DOE  
(looking at Theresa   
with a sly smile)  
Yeah...Me too.  
  
Theresa gives Doe an embarrassed stare as she follows Sarah   
inside. Doe is the last one to walk in the house.  
  
CUT TO:  
  
INT. LT. AVERY'S OFFICE - DAY  
  
Det. Tate and Lt. Avery are talking inside her office.  
  
DETECTIVE TATE  
So you concluded that the Mourner   
killer had no connection to this   
John Doe. Just some infatuation   
with him?  
  
LT. AVERY  
That's right. John has been   
consulting with this Department for   
months now. And he's acquired some   
notoriety in the press. So he is   
bound to get fan mail every once in   
a while. That's all this is.  
(holding up the   
photo of the Avatar   
letter)  
  
DETECTIVE TATE  
Well my Department hasn't made that   
decision yet. And I would still   
like to have a chat with him.  
  
LT. AVERY  
On what grounds?  
  
DETECTIVE TATE  
Oh lets see, the fact that you dont'   
know anything about his past. The   
fact that up until last fall, there   
are no records of his existence   
anywhere. The fact that he seems to   
have some type of mysterious   
clairvoyance no one can explain.   
Should I continue?  
  
LT. AVERY  
You're looking at this all wrong.   
He's just someone who is trying to   
figure things out for himself. It   
isn't his fault and he doesn't need   
this kind of guilt trip right now.  
  
DETECTIVE TATE  
Come on Jamie. You're getting too   
personal with this guy. Now I can   
do this with you or I can go over   
your head, your choice.  
  
LT. AVERY  
You have always done whatever you   
have to to get your way. We all now   
that. But you're wrong about this.   
This is just another nutjob trying   
to get attention. You're wasting   
your time.  
  
Det. Tate gets up from his chair, grabbing the photo from   
Avery's desk.  
  
DETECTIVE TATE  
I'm just going where the trail leads   
me. And this is no nutjob, believe   
me my Department is pursuing this   
killer as the real deal. Because if   
he is Avatar, then this could be   
just the beginning. Unless we   
follow every lead, people's lives   
are going to be in danger. So if   
you want to protect your friend,   
that's fine for now. But I'm   
holding you responsible if it turns   
out that he and this killer are   
connected somehow.  
  
Det. Tate leaves the office, leaving Lt. Avery pondering   
about his words. A look of concern stays on her face.  
  
CUT TO:  
  
INT. SARAH PARKINSON'S HOUSE - DAY  
  
We see Doe standing in the living room of an old style   
house. Lots of antique furniture can be seen around the   
room, along with lots of pictures and figurines. Doe takes   
his time as he looks around and notices the pictures on the   
table and on the walls.  
  
JOHN DOE (B/W POV)  
  
---Different size framed pictures on the wwall. Mostly of   
Sarah Parkinson, at different ages in her life. She can be   
seen with an older man in some pictures, but no children.  
  
Doe notices one framed picture on a table.  
  
JOHN DOE (B/W POV)  
  
---A picture showing Theresa in color, aloong with a little   
boy and a little girl, both about 5 or 6 years old. A   
happy smile on her face.  
  
Doe is holding it in his hand, looking at it closely.  
  
SARAH  
That was a very happy day for   
Theresa.  
  
Doe is startled by Sarah standing behind him. She is   
holding a tray with coffee and cookies. Doe puts the   
picture down where he got it from.  
  
JOHN DOE  
Uh...She looks happy.  
  
SARAH  
(putting the tray   
on the coffee   
table)  
She should be. That's Robert and   
Shirley she's with. Two homeless   
kids from the shelter. Their father   
had finally found a steady job and   
they were moving into their own   
home.  
  
Doe smiles and nods.   
  
JOHN DOE  
She was in a shelter?  
  
SARAH  
She volunteered there. She helped   
out people and families who where   
down on their luck. For as long as   
I've known her, she's always liked   
to help others. How do you take   
your coffee?  
(holding a cup in   
her hand)  
  
JOHN DOE  
Cream and sugar.....So she lived   
here with you?  
  
SARAH  
Yes. She rented a room upstairs.  
(handing him his   
coffee)  
  
JOHN DOE  
(taking the cup)  
Thanks. You have a real nice home   
here.  
  
SARAH  
Well thank you...You know I must   
say, I am so happy to see that she   
is ok. I was so worried about her.   
I haven't had a good night sleep   
ever since she disappeared.   
  
JOHN DOE  
(a bit confused)  
When did she disappeared?  
  
SARAH  
(pouring herself a   
cup of coffee)  
3 months ago. I was starting to   
believe I'd never see her again.  
  
JOHN DOE  
(putting his cup   
down)  
I'm sorry. I'm not sure I   
understand. You never reported it   
to the police?   
  
SARAH  
Well that's because she always said   
that she might have to leave one day   
suddenly. And she made me promise   
not to inform the police if it ever   
happened. Believe me, I had a hard   
time agreeing to such a thing.  
  
JOHN DOE  
(nodding in   
confusion)  
But why, I don't understand. Did   
she tell you why?  
  
SARAH  
Well, she would tell me certain   
things now and then about her past.   
But I'm not one to pry. I guess   
that's why she and I had such a nice   
relationship. But now that YOU're   
here. Maybe she can live a normal   
life again.  
  
JOHN DOE  
(smiling)  
I'm not sure how answer to that.  
  
SARAH  
Well honey, for as long as she's   
been here, you're the only thing   
from her past that would always   
bring a smile to her face. And   
that's saying a lot. Like I always   
told her, a pretty girl like her   
shouldn't be so serious and alone.   
She deserves more than that....Don't   
you like your coffee?.  
  
JOHN DOE  
(realizing his   
oversight)  
NO!...Its..its great thank you. I'm   
just uh....  
  
SARAH  
(patting him on his   
knee)  
Oh, its Ok. I know there's a lot   
more going on here between you two.   
I'm just glad she's ok, and that she   
found YOU.  
  
Doe smiles at her. Sarah seems to be a very wise woman to   
him, someone who helped Theresa on a day to day basis.  
  
THERESA  
(from the back of   
the living room   
area)  
I see you two are getting   
acquainted.  
  
Theresa walks in from the upstairs area. She has a change   
of clothes and looks as if she has made herself at home.   
She's wearing make up now and looks like she's been working   
on her hair. Doe gets up from his chair out of courtesy,   
coffee in hand. He notices her change right away.   
  
SARAH  
(pouring another   
coffee for Theresa)  
Oh child, me and Tommy have just   
been getting to know each other.   
I've been telling him how worried   
I've been this last few months.  
  
Theresa takes the cup from Sarah's hand and kisses her on   
her cheek.  
  
THERESA  
I'm sorry Doodle Bug. I know I've   
must have put you through hell.  
  
SARAH  
(holding Theresa   
close to her)  
It's all right sweety. I know how   
you can make it up to me though.   
You can both have some of my famous   
lasagna. What do you say Tommy?   
Its really good, and I won't take no   
for an answer.  
  
THERESA  
I would love some.  
  
They both are looking at Doe now. He smiles back at them.  
  
JOHN DOE  
(in a happy mood)  
Sure. Why not?  
  
SARAH  
Great. Now if you'll excuse me,   
I'll be in the kitchen making sure I   
don't burn the mozzarella. It'll be   
ready in a flash.  
  
Sarah makes her way to the kitchen. Leaving Theresa and   
Doe in the living room. Theresa looks a bit nervous about   
how the whole situation just seems so surreal.  
  
THERESA  
(smiling)  
That's my Sarah. Always seems to   
just go with the flow. She likes   
you, I knew she would.  
  
JOHN DOE  
I can see that. She's a very caring   
person.  
  
THERESA  
Yeah, she is the best.  
  
JOHN DOE  
The kind of person who can keep a   
secret. Right?  
  
THERESA  
(with a serious   
look now)  
Something like that...She understood   
my situation, and she didn't mind my   
sketchy past.  
  
Doe looks at Theresa with curious eyes. Then we hear Doe's   
cell phone ringing. He looks inside his jacket pocket and   
takes it out, but doesn't pick it up right away. It keeps   
ringing. Doe looks at Theresa instead.  
  
THERESA (CONT'D)  
(with a dreading   
look)  
If you have to leave I'll   
understand.  
  
The phone keeps ringing for a few seconds. Doe still   
hasn't answered it. He keeps staring at Theresa. Then the   
phone stops ringing, Doe looks a it for a second, then puts   
it back in his pocket.  
  
JOHN DOE  
Is there a bathroom I could use?  
  
Theresa smiles with a look of gratitude.  
  
THERESA  
Upstairs, first door on the right.   
I'll go help Sarah.  
  
Theresa walks towards the kitchen, while Doe watches her   
with a smile as she walks away. He then proceeds upstairs,   
a relieved smile on his face.  
  
CUT TO:   
  
EXT. SEATTLE CITY STREETS - LATE DAY  
  
We see different scenes of police officers and detectives   
searching different parts of the city. Public buildings,   
crack houses, empty lots, public parks, abandoned   
buildings, and knocking on people's houses. We see police   
investigators interviewing different people on the streets   
and in buildings. Police and news helicopters can be seen   
flying around the city.  
  
We stop on a street corner where Det. Frank Hayes is   
overseeing a search around a city block. He looks   
frustrated about the whole situation. An unmarked police   
cruiser arrives at the scene, Lt. Avery steps out and heads   
over to Frank.  
  
LT. AVERY  
(to Frank)  
What do we got?  
  
FRANK  
Whole lot of nothing. Sun is going   
down and we're down to just under 5   
hours left. I don't think we have   
enough manpower to conduct a search   
this wide.  
  
LT. AVERY  
(walking along the   
street)  
I know. We'll just have to do the   
best we can.  
  
FRANK  
(walking beside   
Avery)  
I wonder how they're doing on that   
cipher.  
  
LT. AVERY  
I don't think it matters. They're   
not going to crack the code in time.   
Avatar's code has never been broken.  
  
FRANK  
Maybe we should call Doe in on this   
one.  
  
Lt. Avery stops and turns to Frank.   
  
LT. AVERY  
Tate had the same idea.  
  
FRANK  
(with a curious   
face)  
How's that? Has he been following   
our cases?  
  
LT. AVERY  
Just one. The Mourner Killer.  
  
Frank's face turns serious. Then Lt. Avery continues to   
walk along the sidewalk. Frank follows.  
  
LT. AVERY (CONT'D)  
The Alice Sanders letter had John's   
symbol printed on it. Tate wanted   
to bring him in for questioning.  
  
FRANK  
I'll be damned. He thinks Doe is a   
suspect?  
  
LT. AVERY  
He thinks John is connected to all   
this somehow. I told him it was   
probably another fanatic who's been   
following John's cases.  
  
FRANK  
Did he buy that?  
  
LT. AVERY  
No, and he's blaming me for not   
calling him in on this.  
  
Frank and Avery are standing on a street corner now,   
surrounded by other police personnel working the block.   
Frank is pondering the situation at hand.  
  
FRANK  
You know, maybe we should give John   
a call all the same. I think we   
need him on this.  
  
LT. AVERY  
(with a frustrated   
look)  
I already did. I got no answer.   
Can say I blame him if he wasn't   
answering.  
  
FRANK  
(a bit confused)  
Why do you say that?  
  
LT. AVERY  
Well, he's been through some   
traumatic crap the last few days. I   
just figured that he would want some   
time for himself.  
  
FRANK  
Yeah, I think you're right. But if   
he IS connected to this case   
somehow, we should keep trying to   
contact him. I have a bad feeling   
about this one.  
  
Lt. Avery nods in agreement. She looks frustrated and   
helpless at the unfolding turn of events.  
  
CUT TO:  
  
INT. HOUSE IN THE WOODS - NIGHT  
  
We pan around a dirty living room, the sound of classical   
music can be heard coming from an old stile record player.   
It is the piano piece, "My Funny Valentine". As we move   
around the room we come to a dark figure, sitting on a   
chair. We see the figure from behind, we cannot see his   
face. He is watching a small red television set. The dark   
figure is flipping through the channels as he looks as his   
watch. He stops on a "Breaking News" bulletin that appears   
on the tv screen. We see the figure settle in his chair   
and turn up the volume. We hold on the tv screen which   
shows a podium full of different microphones from   
television and radio stations.  
  
ON THE TV SCREEN:  
  
Detective Tate walks towards the podium and prepares to   
give a statement.  
  
DETECTIVE TATE  
(flipping through a   
printed sheet of   
paper)  
The Seattle Police Department has   
issued a statement which I will read   
to you know. We will not take any   
questions.  
  
Det. Tate looks at the papers in his hand.  
  
DETECTIVE TATE (CONT'D)  
Early this morning, the body of a   
young man was found in the vicinity   
of South Bend county. Upon further   
investigation, we found that he was   
the victim of foul play and that he   
was not the only one. His young   
female companion at the time has   
apparently disappeared and we   
believe she is being held against   
her will.  
  
Det. Tate looks up at the crowd of reporters. He   
apparently is preparing himself for what he is about to say   
next.  
  
DETECTIVE TATE (CONT'D)  
We believe the young woman's   
abductor left a message for the   
police department. Although we are   
not at liberty to reveal the   
specifics of the letter, we have   
received one demand from the   
perpetrator.....We've been   
instructed to reveal that the letter   
was sent by someone calling himself   
Avatar.  
  
Immediately a roar of comments surges from the crowd of   
reporters. Each trying to get a question in.  
  
DETECTIVE TATE (CONT'D)  
(speaking over the   
crowd)  
That is all we have at this time.   
Thank you.  
  
Det. Tate walks away from the podium among a barrage of   
questions from reporters. Each question resonating the   
word Avatar.  
  
We pull back from the tv to see the outline of the dark   
figure watching the screen. He is looking at a reporter   
who is now talking on the television set. The word Avatar   
can be heard repeatedly on his report. The dark figure   
takes out what appears to be a cell phone and begins   
dialing a telephone number.  
  
CUT TO:  
  
EXT. POWER PLANT GRID - NIGHT  
  
We move about a power plant in the outskirts of the city of   
Seattle. The humming of electrical power can be heard all   
around. We stop at a particular spot. The digital display   
of a cell phone attached to a concealed metal box comes on   
and begins ringing. The digital display indicates the   
message "incoming call", after the cell phone rings a third   
time, we see the box and the cell phone explode in a   
controlled explosion.  
  
Immediately we begin hearing the humming of the power plant   
interrupting and all kinds of alarms begin to sound,   
warning of the impending power failure.  
  
CUT TO:  
  
EXT. CITY OF SEATTLE LANDSCAPE - NIGHT  
  
A sea of lights coming from the city of Seattle Washington   
can be seen all around. After a few seconds, different   
groups of those lights begin to flicker, some begin to turn   
off. An apparent domino effect has been triggered, caused   
by a calculated strike in a specific weak point of the West   
Coast Power Grid.  
  
CUT TO:  
  
EXT. SEATTLE CITY STREETS - NIGHT  
  
Frank and Lt. Avery are still investigating an empty lot of   
a city block marked on Avatar's map. Police personnel are   
all around, searching the surrounding areas for any clues.   
Frank is holding his cell phone to his ear, when suddenly   
the lights around the city block begin to flicker a bit.  
  
FRANK  
(into his cell)  
Listen John, is Frank. Look man I   
know you're probably pretty busy   
right now, but we really need your   
help here. Please call.......  
  
The lights around the block go out for a period of seconds.   
Frank finally notices and looks around him.  
  
FRANK (CONT'D)  
What the hell? Of all the times for   
this to happen.  
  
Frank notices his phone signal is gone now.  
  
FRANK (CONT'D)  
Oh great. Perfect!!  
(closing his cell   
phone)  
  
The lights come on again as we see Lt. Avery come from   
behind one of the buildings.  
  
LT. AVERY  
Did you get through to him?  
  
FRANK  
No, I got his answering service   
again and I just lost my cell   
signal. Check yours.  
  
LT. AVERY  
(checking her cell)  
Mine's down too.  
  
FRANK  
(looking at Avery)  
Great! If I knew any better, I'd   
say this was all preplanned.  
  
Lt. Avery gives Frank a sudden look.  
  
LT. AVERY  
(sarcastically)  
God! That's all we need right now.   
Some kind of psycho with a brain on   
the loose.  
  
CUT TO:  
  
INT. SEATTLE POWER CONTROL CENTER - NIGHT  
  
Technicians can be seen moving about in a panic. A series   
of monitors showing the Seattle Metropolitan area can be   
seen overlooking the room. Different blinking lights can   
be seen all over the display of the city. We pan down to a   
senior executive speaking on the phone.  
  
CENTER MANAGER  
(into the phone)  
I'm telling you we're still not sure   
what happened. All of a sudden   
we're getting a massive drainage of   
power from sector 12. I got people   
down there right now.  
  
The manager pauses to listen at the voice on the other end.  
  
CENTER MANAGER (CONT'D)  
Well whatever it is, we better plug   
the leak soon, because grids are   
failing all over the city. I mean,   
we might be looking at a complete   
Blackout if we don't fix this in the   
next hour.  
  
CUT TO:  
  
INT. HOUSE IN THE WOODS - NIGHT  
  
We see the Dark figure patiently waiting and standing by   
the window, overlooking the woods. The piano piece "My   
funny Valentine" can be heard inside the living room. We   
still cannot see the the dark figure's face, only his back.   
He is wearing a stocking cap with dark clothes. We can   
hear him humming to his favorite piece of music. All of a   
sudden, the lights around the room flicker and finally go   
out. The tv is out and the music stops. Complete darkness   
envelopes the living room now. However the Dark figure has   
not moved from the window. He is still humming the tunes   
of "My funny Valentine". We move down to his feet.  
  
INT. DARK BASEMENT - NIGHT  
  
We come down from the ceiling of the basement and hold on   
the dark silhouette of young Alice Sanders, who sobs   
quietly in the darkness. Her hands still strung up and   
looking as scared as ever, listening to the humming coming   
from her abductor upstairs. She begins to cry under her   
breath as all kinds of fearful thoughts run through her   
mind.  
  
CUT TO:  
  
INT. SARAH PARKINSON'S HOUSE - NIGHT  
  
We pan around the kitchen as we see empty dirty plates and   
empty bowls along the kitchen. Leftover lasagna and bread   
rolls can be seen on the kitchen table. We move from the   
kitchen down the hall as we hear laughter coming from the   
living room.  
  
In the living room we see Sarah, Theresa and Doe. They   
each have a glass of wine as Sarah seems to be telling a   
story. Sarah is standing as Theresa and Doe are sitting   
and listening to her.  
  
SARAH  
So I come downstairs, expecting a   
bouquet of roses or something simple   
like that. When, What do my eyes   
see?....A real Mariachi band blaring   
music in this living room and my   
husband dressed in a white tuxedo   
and holding a bouquet of roses for   
me.  
  
Doe and Theresa begin laughing at Sarah's humorous romantic   
tale.  
  
SARAH (CONT'D)  
Well I don't have to tell you that   
he had a hard time topping that feat   
for my next birthday.  
  
Sarah laughs as she puts down her glass on the table and   
sits down. Doe and Theresa are still smiling and laughing.  
  
SARAH (CONT'D)  
(with a smile)  
Yeah, my Steven was always one to   
make me laugh.  
  
THERESA  
I always loved that story.  
  
JOHN DOE  
He seemed quite the romantic your   
husband.  
  
SARAH  
He sure was...You know, even when we   
found out about his cancer, he   
wouldn't let me get depressed. He   
would tell me that it was a waste of   
time to let things like that get you   
down. So he made an effort to never   
let me get depressed.  
  
The mood gets a little serious as Doe gives Sarah a look of   
deep sorrow. Theresa just smiles at her.  
  
SARAH (CONT'D)  
OH! Would you look at what I've   
done. I managed to kill the happy   
mood around here.  
  
Sarah gets up and takes her wine glass into the kitchen.   
Doe smiles and looks down at his glass. Theresa glances at   
him with a pensive look. Doe looks up and catches her   
gaze. They both stare at each other in silence for what   
seems to be an eternity. Neither of them turns away until   
Sarah gets back in the room.  
  
SARAH (CONT'D)  
Listen sweety, don't even think   
about touching anything in that   
sink. You let me take care of that   
tomorrow.  
  
Theresa gets up from her chair.  
  
SARAH (CONT'D)  
(giving Theresa a   
motherly hug)  
Now, I'm going to turn in. Your   
room is all ready, in case you   
decide to stay, Ok?  
  
THERESA  
(holding Sarah's   
hand in affection)  
Thanks Doodle Bug. I'll see you in   
the morning.  
  
Doe gets up from his seat. Sarah moves towards him.  
  
SARAH  
(extending her   
hand)  
Thomas, it was a pleasure to finally   
meet you. Now you keep this girl   
safe, you hear me?  
  
Doe glances at Theresa, then back at Sarah.  
  
JOHN DOE  
(shaking Sarah's   
hand)  
I will.  
  
Sarah adjust her sweater as she proceeds to walk upstairs   
to bed. Theresa watches her leave with a loving smile.   
Doe glances at Theresa, getting a feel of the type of   
person she is.  
  
THERESA  
(glancing back at   
Doe)  
So...Would you like some more wine?  
  
JOHN DOE  
(looking at his   
half empty glass)  
No!...I think I've reached my limit.  
  
Theresa nods as she proceeds to sit across from Doe, while   
he takes a seat on the love seat. A short moment of   
silence passes between them. Each looking to be searching   
for the right way to continue the conversation. Theresa   
realizes the awkward moment and produces a slight smile,   
which Doe notices immediately.  
  
JOHN DOE (CONT'D)  
(smiling)  
What is it?  
  
THERESA  
Something is on your mind. You're   
dying to ask me so many questions.  
  
Doe looks at with a curious face.  
  
JOHN DOE  
How are you doing this? Can you see   
what I'm thinking?  
  
THERESA  
(with a sigh)  
I'm not a mind reader, if that's   
what your asking....Not exactly.  
  
JOHN DOE  
But you knew there was something   
different about me. You said my   
PATTERN was different.  
  
THERESA  
(choosing her words   
carefully)  
Well...that's what I call people's   
thought signatures. Each person has   
a different one...Think of it as a   
mental fingerprint.  
  
JOHN DOE  
And you can see this? Right now?  
  
THERESA  
Not the way you think. Not with my   
eyes. It sort of like, receiving a   
signal.  
  
Doe settles in his seat, trying to understand what she's   
telling him.  
  
JOHN DOE  
There have been documented cases of   
people been claiming to see energy   
patterns emitted by others. Like an   
aura.  
  
THERESA  
It's like being a receiver for other   
peoples thoughts, dreams, emotional   
states. But not all the time and   
you never see everything right away.   
Human contact helps clear the   
signal. And I'm not able to do it   
with just anyone . Some people are   
easier to read than others.  
  
JOHN DOE  
You've always had this ability?  
  
THERESA  
Pretty much. At first I couldn't   
control it, but with training, I was   
able to subdue it and keep myself   
sane at the same time.  
  
Doe is intrigued by her response.  
  
JOHN DOE  
Who trained you?  
  
Theresa looks down at her drink glass. She looks   
uncomfortable about the last question. She gets up and   
takes the open wine bottle from the table. She proceeds to   
walk towards the kitchen.  
  
THERESA  
I better put this back. Don't want   
to let it breath too long.  
  
Doe sees this as her attempt to avoid the subject. He gets   
up and follows her into the kitchen after a few seconds   
pass. We follow Doe into the kitchen, where Theresa is   
putting the cork back on the bottle and placing it on the   
wine rack. He stands at the entrance way to the kitchen.  
  
JOHN DOE  
It was them, wasn't it? The Phoenix   
Group.  
  
Theresa looks down and leans against the kitchen counter.  
  
THERESA  
I've never heard of the Phoenix   
Group Tommy....Not until   
today....But I was trained by people   
like them. Maybe even connected to   
them....All I know about this   
Phoenix Group as you call them, is   
that they were interested in YOU.   
And that they were using me to get   
something FROM you.  
  
Doe looks down in guilt. He turns and leans against the   
kitchen entry way.  
  
JOHN DOE  
(looking at Theresa   
intently)  
Did they come here to take you?  
  
THERESA  
(with a sigh)  
No....I was...buying groceries.   
They approached me as I was heading   
to my car.  
  
FLASHBACK IN:  
  
EXT. SUPERMARKET PARKING LOT - DAY  
  
We see Theresa carrying a bag of groceries as she calmly   
walks to her car. She is wearing the same clothes she was   
wearing in the "Ashes to Ashes" episode from Season One.   
As theresa passes a parked white van with tinted windows,   
we see Yellow Teeth emerge from behind a parked car.  
  
YELLOW TEETH  
Hello Theresa.  
  
Theresa turns immediately. Looking at Yellow Teeth in   
complete surprise.  
  
THERESA  
What do you want!?  
  
YELLOW TEETH  
Come now child. Is that any way to   
greet an old friend.  
  
Theresa backs away from Yellow Teeth.  
  
THERESA  
You can't make me go back. I won't   
do it!!  
  
YELLOW TEETH  
(in a calm voice)  
Theresa....don't be that way. We   
just need you do us a favor. Then   
you can go back to your MUNDANE little  
life. I promise.  
  
THERESA  
(yelling)  
YOU GO TO HELL!!  
  
Theresa drops the grocery bag and begins to sprint away,   
but as she turns she runs smack into Trenchcoat Man, who   
immediately grabs her and pierces her skin with a small   
strange looking needle protruding from a thumbnail device   
in one of his fingers. We see Theresa try to yell but the   
effects of the sedative are instantaneous. It does not   
knock her out but it makes her docile and easy to handle as   
Trenchcoat guides her towards the white van parked nearby.  
  
FLASHBACK OUT.  
  
INT. SARAH PARKINSON'S HOUSE - NIGHT  
  
Theresa is in Sarah's kitchen as we se Doe with his eyes   
closed in total disgust.  
  
THERESA  
I remember only bits and pieces of   
what happened afterwards.  
  
Doe tilts his head down, not understanding the logic of   
such an act. He walks back into the living room. Doe   
comes from the kitchen an proceeds to take a seat on the   
couch. He is looking down with his hands over his face.  
  
THERESA (CONT'D)  
(walking in from   
the kitchen)  
It wasn't your fault. You didn't   
know.  
  
JOHN DOE  
Why don't I believe that?   
  
Doe settles back on his seat. Nodding in disbelief.   
Theresa sits next to him on the couch.  
  
THERESA  
Who's Karen?  
  
JOHN DOE  
What?  
  
THERESA  
(smiling)  
The girl you're thinking about. She   
was your friend?  
  
JOHN DOE  
(smiling)  
My best friend.  
  
THERESA  
I remember her. Her beautiful   
dress.....I wish I could tell you we   
spoke. But we didn't.  
  
Doe nods with a sorrow look towards Theresa.  
  
JOHN DOE  
They killed her because of me.  
  
THERESA  
And you feel you could have saved   
her.  
  
JOHN DOE  
(in a low voice)  
Yes.  
  
Theresa moves closer to Doe, placing her hand gently on   
Doe's hand. Doe looks at his hand touching hers.  
  
THERESA  
I'm sorry Tommy.  
  
Doe acknowledges her words of comfort.  
  
JOHN DOE  
Is my name really Thomas Anderson?  
  
Theresa smiles at him.  
  
THERESA  
I hope so. That's the name I knew   
you by.  
  
JOHN DOE  
(in a proud tone)  
Anderson. Son of Ander. Meaning   
manly; brave. Variant of English   
Andrew.  
  
THERESA  
(amusingly   
confused)  
Yeah!?  
  
JOHN DOE  
Interesting.  
  
Theresa chuckles at the sight of Doe analyzing his own   
name.  
  
THERESA  
Can I ask you something?  
  
Doe looks back at her intently. Theresa grabs a pen from   
the nightstand near her and a magazine.  
  
THERESA (CONT'D)  
(writing on the   
page)  
Why doe I keep seeing this shape   
when I look at you?  
  
Theresa holds up the cover of the magazine with the   
circular symbol of John Doe. Doe's mouth is open as he is   
completely dumfounded at Theresa's abilities.  
  
THERESA (CONT'D)  
What does it mean?  
  
JOHN DOE  
(taken aback)  
Uh..I don't know. Its just   
something I woke up with one day.   
Its been a mystery to me ever since.  
  
THERESA  
You mean, Its part of you?  
  
JOHN DOE  
(choosing his   
answer)  
Yeah.  
  
THERESA  
How?  
  
JOHN DOE  
That's something I wanted to ask   
you.  
  
Doe unbuttons his dress shirt and pulls back his shirt   
underneath to reveal the part of his chest which bears his   
mysterious circular scar. A look of complete surprise   
fills Theresa's face as she instinctively moves closer to   
Doe and proceeds to gently touch the scar with her hand.  
  
THERESA  
(in a low voice)  
Oh my God.  
  
Doe is a little surprised to say the least. Not at her   
reaction per say, but more at how close she was to him at   
that moment. He notices that Theresa has her hand over the   
scar, gently touching it, her eyes are closed. He quickly   
realizes she is doing something. He waits for what she   
does next. Her face sits close to Doe.  
  
THERESA (CONT'D)  
(concentrating and   
in a low voice)  
I see a bright   
light....Pain..Terrible pain. Then   
Silence. Death.  
  
Doe is in complete awe at what she is saying. Theresa then   
opens her eyes, her head still close to Doe's chest. She   
looks up at him, still close to him, staring at him with a   
worried face. Doe is unsure of what to do next.  
  
THERESA (CONT'D)  
God Tommy, What's happened to you?  
  
They both stare at each other for what seems to be an   
eternity. Then, as if from nowhere, Doe begins to move   
closer to Theresa's face. She does not pull back, instead   
she sits and stares at his eyes intently. Their lips   
slowly meet, as if for the first time. They both close   
their eyes and slowly move closer, embracing each other,   
living for that moment. As they shift on the couch, the tv   
suddenly comes ON. Startling both of them out of their   
embrace and ruining their quiet moment. Theresa pulls   
back, not sure of how this all began. She reaches   
underneath the cushions of the couch they're sitting on and   
pulls out a small tv remote control. Doe sees this with a   
look of embarrassment.  
  
JOHN DOE  
I'm sorry. I shouldn't have..  
  
Theresa smiles confidently at him.  
  
THERESA  
You don't have to be sorry.  
  
Doe stares at her with a blushing smile as she proceeds to   
use the remote to turn off the tv. In that split second   
Doe glances over at the tv screen and to his surprise, he   
catches a glimpse of a photo of Alice Sanders.  
  
JOHN DOE (B/W POV)  
  
---Alice Sanders's High school photo on thhe Television   
screen. IN COLOR!!!!  
  
The image goes away as the TV is switched off by Theresa.  
  
JOHN DOE  
NO WAIT!! The photo...the girl in   
the photo.  
  
Doe grabs the remote from Theresa and turns the tv on   
again.  
  
THERESA  
Tommy, What's wrong?  
  
The tv image comes back on with the photo of Alice Sanders.   
In color.   
  
JOHN DOE  
I can see her. I see her in color.   
Just like I see YOU.  
  
Doe looks at Theresa.  
  
JOHN DOE (B/W POV)  
  
---Theresa in color, confusingly looking aat Doe.  
  
THERESA  
What?  
  
JOHN DOE  
(in an exited tone)  
I'm color blind. I only see certain   
things in color. Usually is some   
type of clue or warning.  
  
Theresa looks on in confusion as Doe watches the news   
program.  
  
ON THE TV SCREEN:  
  
We see a female Asian reporter speaking with a picture of   
Alice displayed next to her.  
  
REPORTER  
Sources close to the investigation   
indicate that the girl's abductor   
has given Seattle police a deadline   
of midnight tonight. At which   
point, it is believed that the   
abductor threatened to hurt or   
possibly kill Alice Sanders. Police   
agencies from all over the city are   
conducting a combined search over   
different areas in and around the   
Seattle metropolitan area. So far,   
no new developments on this case, as   
we slowly near the midnight hour   
here in Seattle.......  
  
We pull back from the tv to Doe, who is intently looking at   
the picture of Alice Sanders.  
  
JOHN DOE  
(taking out his   
cell)  
Oh God. That's probably why Frank   
and Jamie where calling me.  
  
Doe flips his cell phone on and starts dialing as he   
glances at the tv. Theresa is still looking on. Suddenly   
Doe is jolted back by some type of internal shock. Doe   
drops the phone and grabs his head, as if experiencing a   
piercing headache. Theresa immediately gets up and comes   
to his aide. The pain in Doe's head is so sharp that he   
kneels to the ground, not screaming but moaning in pain.   
His eyes are closed as he holds his hands up to his   
forehead.  
  
THERESA  
(with her hands on   
Doe's arms)  
TOMMY! Tommy what's wrong?  
  
We hold close on Doe's eyes.  
  
JOHN DOE (INT POV)  
  
---Images of torture and pain. Different people in pain.   
Then we see Alice Sanders.  
  
---Alice shackled in a van. In a dark bassement. Alice   
begging for her life. Alice screaming in the dark.  
  
---Glimpses on the Dark Figure driving thee van, struggling   
with Alice inside Jason Keys's car. The Dark Figure   
standing by the window. The face of the Dark Figure   
obscured or not seen.  
  
We see Theresa knelt on the floor next to Doe. Who is   
still grasping his forehead in pain. Suddenly the lights   
on the house begin to flicker as Sarah begins to come down   
the stairs. Apparently coming down to see what the   
commotion was. Then the house goes completely dark.   
Everything is Dark.  
  
SARAH  
What happened?. What's wrong?  
  
Doe's pain finally subsides and he opens his eyes looking   
up at Theresa. Sarah makes her way through the dark living   
room to where they are.  
  
SARAH (CONT'D)  
What's the matter?  
  
THERESA  
(to Sarah)  
I'm not sure.   
  
THERESA (CONT'D)  
(to Doe)  
Tommy. Are you Ok?  
  
JOHN DOE  
(panting heavily)  
I saw her. She's scared. She's in   
danger.  
  
THERESA  
(helping Doe get   
up)  
Who Tommy? Alice Sanders?  
  
JOHN DOE  
Yes. She was in a van. Then in a   
basement somewhere. Damn it I   
can't.....I can't see her anymore.  
  
THERESA  
(close to Doe)  
Ok..its Ok..  
  
JOHN DOE  
I got to go. I got to find Frank.  
  
SARAH  
Are you sure you're all right.  
  
Doe tries to leave but Theresa holds him down in his seat.  
  
THERESA  
Wait. You said you saw her. But   
you don't know where she is.  
  
JOHN DOE  
(agitated)  
I'm not sure. It all came at me so   
fast.  
  
THERESA  
(in a calm voice)  
Tommy listen. Maybe I can help you   
see better. I felt something happen   
to you just now. I've seen this   
before. If I'm right, its called   
sensory overload, caused by some   
type of traumatic experience. You   
felt it like a receiver. You seemed   
to have received a projection. Just   
like you did with me. But you're not  
catching all the images. I can   
help you sort them out. We may find   
out more than what you saw.  
  
Doe looks at Theresa as Sarah lights a scent candle on the   
table near them in order to bring light into the room.   
Theresa's eyes becomes clearer to him as the light of the   
flame dances on her face.  
  
THERESA (CONT'D)  
Let me help you?  
  
Doe nods in agreement.  
  
CUT TO:  
  
EXT. SEATTLE CITY STREETS - NIGHT  
  
Lights all over the city buildings are out. It is a   
complete black out of different areas around the city. We   
see traffic jams all over the city streets as traffic   
lights are no longer working. We come down to a particular   
street corner, where Frank and Jamie are stuck inside a   
police cruiser with its police lights flaring.  
  
INT. AVERY'S CAR - NIGHT  
  
Frank is in the drivers seat and Jamie is talking on the   
police radio.  
  
LT. AVERY  
(into her radio)  
No, no. We can't have everybody   
trying to direct traffic all over   
the place. Concentrate on all the   
major interstate exits. We don't   
want to let this turn into a city   
riot.  
  
The radio clicks and a voice comes back with a resounding   
"copy that". Lt. Avery sets the radio down.  
  
LT. AVERY (CONT'D)  
(to Frank)  
Damn it, this is the last thing we   
needed right now.  
  
FRANK  
And it looks like we ain't going   
nowhere stuck in this mess.  
  
LT. AVERY  
We can't stay here, this isn't   
right. Something is really wrong   
about this whole thing.  
  
FRANK  
(sounding the car's   
siren)  
Yeah....Well, we better get a move   
on if we're going to get to the   
bottom of this.  
  
EXT. SEATTLE CITY STREETS - NIGHT  
  
We pan back from the unmarked cruiser with Frank and Avery   
inside. People can be seen standing by their cars, their   
headlights on. Car horns blazing can be heard all over   
city.  
  
INT. SARAH PARKINSON'S HOUSE - NIGHT  
  
Doe is sitting straight on the couch. Theresa sits   
directly in front of him on a wooden chair. Her hands are   
placed on top of Doe's hands, which are face down and   
resting on his lap. The whole house is dark except the   
area where they are both sitting. Sarah is sitting nearby,   
in her pajamas, watching intently.  
  
THERESA  
Ok, close your eyes, breathe   
normally. Clear your mind.  
  
Doe complies and closes his eyes. He then does his best to   
keep calm and breathe normally. Theresa is watching Doe,   
getting her bearings and settling on her chair. The whole   
scene looks like a hypnosis session.   
  
THERESA (CONT'D)  
(to Doe)  
What I'm going to try to do now is   
called an Echo Reading. If someone   
was projecting to you, then I should   
be able to see the images you saw   
more clearly. Just keep your eyes   
closed and clear your mind.  
  
Theresa closes her eyes and takes a deep breath. A look of   
deep concentration on her face. Sarah looks on, watching   
both Theresa and Doe intently. Both in deep concentration.   
A few seconds pass with complete silence. Then we see   
Theresa's closed eyes squint a little.  
  
CLOSE ON - THERESA   
  
THERESA (INT POV)  
  
---Flashes of different images. Differentt individuals in   
pain and torture. High school picture of Alice Sanders,   
Alice inside Jason Keys's car, struggling with a dark   
figure.  
  
---Alice shackled inside the van. Her vieew of the Dark   
figure driving the van.  
  
THERESA (CONT'D)  
(in a calm voice)  
She was taken. She struggled to get   
away. She was taken in a van. She   
couldn't get up. There's one man   
driving.  
  
Doe can be seen starting to breathe heavily, as if he is   
getting a view of what she is seeing.   
  
THERESA (INT POV)  
  
---Close view of the back of the Dark figuure as he drives   
the van. We pan across the outside of the windshield as   
the van begins to slow down.  
  
---Highway sign. "Pender Falls next rightt". Sign saying   
mile marker 125. Flash forward to a dark van coming to a   
stop near an old wooden house. Flash forward to Alice   
screaming in a dark basement. Begging for her life.  
  
THERESA (CONT'D)  
Pender Falls Road. An old wooden   
house. A Dark basement. Musty   
smell. Can't see him.  
  
THERESA (INT POV)  
  
---A sudden flash of images. Different peeople screaming,   
pain, blood, culminating in a split second shot of a face   
with black eyes shooting out of the darkness right into   
focus.  
  
---The face screams; "WHERE DO YOU COME FRROM"  
  
Both Theresa and Doe jolt back and open their eyes.   
Theresa lets out a SCREAM as she puts her hands up to her   
face in fear. Doe heaves forward to make sure she's all   
right. He's on his knees close to Theresa. Sarah comes   
closer to them.  
  
SARAH  
(holding her   
collar)  
My God in Heaven! Are you Ok honey?  
  
Theresa looks up at both Doe and Sarah.   
  
JOHN DOE  
(his hand on   
Theresa's cheek)  
Are you ok?  
  
THERESA  
(looking at Doe)  
Yes....Pender Falls.  
  
JOHN DOE  
(in a low voice)  
I know. The police will be looking   
for her.  
  
Doe gets up from his knees. He reaches to check his cell   
phone.  
  
JOHN DOE (CONT'D)  
(looking at his   
phone)  
I got no signal....  
(to Sarah)  
May I use your phone please?  
  
Sarah nods as she heads over to Theresa and puts her hand   
on her shoulder for comfort. Doe heads over to the living   
room Phone and begins dialing Frank's and Avery's phone   
numbers.  
  
JOHN DOE (CONT'D)  
(shaking his head   
in frustration)  
Busy. Lines are jammed.  
  
He turns to look at Theresa and Sarah.  
  
JOHN DOE (CONT'D)  
(grabbing his   
jacket)  
I got to get up there. I'm closer   
to Pender Falls. I can get there   
faster.  
  
Doe heads to the door as Theresa immediately gets up with   
Sarah standing behind her. He opens the door.  
  
THERESA  
You're not going alone.  
  
JOHN DOE  
(knowing what she's   
suggesting)  
Yes I am. I'll be fine.  
  
Doe heads outside the open door.  
  
THERESA  
You need me. I'm coming with you.  
  
JOHN DOE  
(stopping outside   
the door)  
Absolutely NOT!!.  
  
Doe proceeds to head out to his car, putting his jacket on   
in the process.  
  
EXT. SARAH PARKINSON'S HOUSE - NIGHT  
  
We see Doe coming down the steps of the porch, adjusting   
his jacket. Theresa comes storming out of the house, also   
putting on her jacket, heading towards Doe's car. Sarah   
comes out and stands on her doorway.   
  
THERESA  
You're not going without ME.  
  
Doe stops to cut her off. Theresa comes right up to him.   
We can see both standing on the sidewalk in front of the   
house.  
  
JOHN DOE  
Are you crazy?  
  
THERESA  
Are YOU? You don't know what you're   
going to find there. I can help.  
  
JOHN DOE  
You're not going!!  
  
THERESA  
We're wasting time. We have until   
midnight.   
  
Theresa ignores Doe completely and proceeds to walk right   
past him. Doe makes a half ass attempt to get in her way   
but he's too late or too shy to do so. Theresa opens the   
passenger door and gets in, closing the door behind her.   
Doe stares at her from the sidewalk for a few seconds, then   
stares at his watch. Theresa just stares right back at him   
with a stubborn look. Realizing he can't do nothing about   
it now, Doe turns to Sarah.  
  
JOHN DOE  
Sarah keep trying the police. Ask   
for Lt. Jamie Avery, tell her that   
John Doe said Alice Sanders is in a   
house off route 48. Pender Falls   
road, mile marker 125. Got it?.  
  
SARAH  
(from her porch)  
Ok.  
  
JOHN DOE  
(heading to his   
car)  
Tell them to hurry.  
  
Doe hurries around the back of his sports car and jumps in   
the driver's seat. He revs up the engine and peels off   
into the night.  
  
CUT TO:  
  
INT. HOUSE IN THE WOODS - NIGHT  
  
We see the Dark figure looking out the window. We look   
from his point of view out the window to a completely dark   
forest. We can see a deserted dirt road which leads to the   
main highway. We cannot see his face. He is wearing a   
dark stocking cap. We can only see part of the side of his   
face. He then proceeds to walk calmly towards the inside   
of the house.  
  
INT. DARK BASEMENT - NIGHT  
  
Alice Sanders is looking up as she hears the floor panels   
screech and grind at the weight of someone walking above   
her. She is surrounded by darkness, all we can see is her   
frightened face as she breathes heavily.  
  
CUT TO:  
  
INT. DOE'S CAR - NIGHT  
  
Theresa looks at her watch as Doe turns and weaves through   
stop and go traffic in the outskirts of town. Parts of the   
city can be seen lit up but others show complete darkness.  
  
THERESA  
We have 55 minutes till midnight.  
  
JOHN DOE  
(handing her his   
cell)  
Here....Keep dialing this number.   
With any luck well get through to   
Frank. Now, if we take the Warren   
overpass and head north we should be   
able to make it to the Franklin   
exit.  
  
THERESA  
You're heading to Lanier Lake? We   
can't take the Ferry, it'll take too   
long.  
  
JOHN DOE  
We're not. Taking into account the   
current Power failure and the 2002   
Seattle Department of Transportation   
report, we'll make it to route 48 in   
37.3 minutes if we take the lake   
view drive. Reason being that there   
are 42.3% less intersections and   
34.5% less traffic lights if we go   
this way. So, barring any   
unforeseen traffic accidents along   
the way, we should be able to make   
Pender Falls in time.  
  
Doe jerks the wheel left and right as he weaves through   
current traffic. He also happens to notice Theresa's   
expression of shock in her face.  
  
JOHN DOE (CONT'D)  
(looking at   
Theresa.)  
Trust me.  
  
THERESA  
Ok?!  
  
CUT TO:  
  
EXT. SEATTLE POLICE STATION - NIGHT  
  
We see Detective Tate and members of the Avatar task force   
come out of one of the side doors of the station. They are   
making their way to their vehicles.  
  
DETECTIVE TATE  
All right. What's the ETA on the   
SWAT team.  
  
DETECTIVE #1  
There 10 minutes away.  
  
DETECTIVE TATE  
Good, tell them to get in position   
but not to move in until we get   
there.  
  
At that moment Frank and Avery pull up. They both get out   
of the car, expecting to hear the latest news on the   
investigation. Avery makes her way towards Detective Tate,   
Frank close behind.  
  
LT. AVERY  
Tell me you got something.  
  
Detective Tate gives her a slight smile as he keeps walking   
past Avery and Frank. They both follow him closely.   
  
DETECTIVE TATE  
(speaking ahead of   
them)  
We got a report from a night parking   
attendant who says he saw a man   
carrying something strange out of a   
dark van through the back entrance   
of an apartment building early this   
morning. Witness said it could have   
been a body wrapped in a tarp.  
  
FRANK  
That's all!  
  
Detective Tate gives Frank a sideways glance as he opens   
the passenger door to a police cruiser.  
  
DETECTIVE TATE  
We ran the plates on the van. Came   
back as belonging to one Ray Craven,   
52 year old convicted child   
molester. 2nd year into his   
probation.  
  
Detective Tate gets in the passenger seat of the police   
cruiser and speaks to Avery from inside.  
  
LT. AVERY  
You really think this Craven is the   
one that took that little girl.  
  
Detective Tate gives out an exhausting sigh as the driver   
turns on the engine.  
  
DETECTIVE TATE  
No. But after an 11 hour search,   
its the best lead we have.  
  
FRANK  
What about the cipher?  
  
Detective Tate just shakes his head in response. A   
disappointing look fills his face.  
  
FRANK (CONT'D)  
Oh man. This could end badly.  
  
LT. AVERY  
You need back up?  
  
DETECTIVE TATE  
(looking at Avery)  
No. I think we got it.  
  
LT. AVERY  
We tried to call in John Doe.   
Couldn't get through to him.  
  
Detective Tate gives Avery an understanding look. Then he   
motions for the driver to go. The car gets into gear and   
drives away. Avery looks on as it drives on.  
  
CLOSE ON - LT. AVERY  
  
Seconds later, a police officer drives up to Lt. Avery and   
Frank in his police car. He sounds his police siren a   
little bit to get their attention. They both turn to the   
patrolman.   
  
POLICE OFFICER #1  
(from inside his   
police car)  
Lieutenant. Dispatch just relayed a   
message for you, supposedly from   
John Doe.  
  
Lt. Avery and Frank give each other a surprising look.  
  
CUT TO:  
  
EXT. RURAL HIGHWAY - NIGHT  
  
Doe's convertible can be seen driving along a lake side   
road. As we move closer and see the car drive by, we see a   
highway sign which says route 48, and another sign that   
says mile marker 120.  
  
INT. DOE'S CAR - NIGHT  
  
JOHN DOE  
(looking ahead)  
Not far now.  
  
THERESA  
(holding Doe's   
cell)  
Still no signal.  
  
Doe gives her a frustrating look. Then just as suddenly he   
puts on the brakes and slows the car considerably as he   
notices the road sign ahead. The highway sign says "Pender   
Falls Next Right".  
  
THERESA (CONT'D)  
(looking at her   
watch)  
We have 11 minutes till midnight.  
  
JOHN DOE  
(turning the   
stirring wheel)  
I know.  
  
Doe has a worried look on his face as he turns into the   
dirt road heading down towards Pender Falls.  
  
EXT. PENDER FALLS ROAD - NIGHT  
  
It is a pitch dark road with absolutely no light posts.   
The only lights visible are the ones from Doe's car. The   
car is going slowly now, as Doe looks around for some type   
of sign.  
  
INT. DOE'S CAR - NIGHT  
  
JOHN DOE  
(looking out to his   
left)  
We are close.  
  
THERESA  
(looking to her   
right)  
The house may not be visible from   
this road.  
  
Suddenly Doe stops the car completely.  
  
THERESA (CONT'D)  
(looking at Doe)  
What?  
  
Doe has a wide eyed face as he stares straight ahead.   
Theresa looks and notices what he's looking at.  
  
EXT. PENDER FALLS ROAD - NIGHT  
  
We see an old rotten mailbox. Hanging from it we see a red   
jacket. The same red jacket that Alice Sanders was   
wearing.  
  
INT. DOE'S CAR - NIGHT  
  
Doe has a look of disbelief on his face.   
  
JOHN DOE (B/W POV)  
  
---A red jacket hanging by the mailbox. EEverything is in   
black and white except for the bright red color of the   
jacket.   
  
JOHN DOE  
(opening his car   
door)  
Theresa. You stay here. Keep   
trying that cell phone.  
  
THERESA  
(opening her   
passenger door)  
Wait a minute.  
  
She sees that Doe is at the mailbox and has grabbed the   
jacket.   
  
EXT. PENDER FALLS ROAD - NIGHT  
  
Theresa comes around the front of Doe's car towards him.   
Doe is examining the jacket.  
  
THERESA  
You can't just walk in there by   
yourself.  
  
JOHN DOE  
(in a stern voice)  
That's EXACTLY what I'm going to do.   
And you're going to stay HERE. You   
give me 15 minutes, if you don't   
hear from me by then, you drive to   
the nearest pay phone. You got   
that.  
  
THERESA  
NO. Listen...  
  
Doe moves towards Theresa and grabs her just above each   
elbow and pulls her closer to him.  
  
JOHN DOE  
YOU listen. We dont' have time to   
argue. If something happens in   
there, I can't risk it happening to   
both of us. One of us has to stay   
here and wait for help. And that   
someone is going to be YOU. No   
arguments.  
  
Theresa just stares at Doe closely. She looks down,   
submitting to his demand. Doe then lets go of her gently   
giving her Alice's red jacket and proceeds to walk into the   
dirt side road leading him down the path before him. He   
gives her one last look before continuing on.  
  
CUT TO:  
  
INT. DARK BASEMENT - NIGHT  
  
Alice Sanders can be seen with her hands strung up. Unable   
to move much. She is surrounded by complete darkness.   
Suddenly she hears the upstairs door screech open and   
footsteps start coming down to the basement. Alice tries   
to turn her head to see, but there is nothing to see.   
Darkness fills the room. The sound of footsteps stops at   
the bottom of the stairs. Now there's only silence.  
  
ALICE  
(sobbing)  
Hello?....Who's there?....Please   
talk to me.....  
  
Faint sounds of wood settling and scrapes against the floor   
are heard around the room.  
  
CLOSE ON - ALICE   
  
ALICE (CONT'D)  
Please just tell me what you want.  
  
Suddenly we see a small flip style knife come from behind   
her head and hold just under her neck. She lets out a   
short scream. The dark figure is standing just behind her.   
Alice keeps perfectly still as she feels the cold steel   
against her skin. All we see of him is his shadowy figure.  
  
AVATAR  
(low cryptic voice)  
Your time has come, child.  
  
CUT TO:  
  
EXT. DARK WOODS - NIGHT  
  
We see Doe making his way through the woods. As he comes   
through a brush he sees the old wooden house ahead of him.   
Just then, he jolts back putting his hand to his forehead.  
  
JOHN DOE (INT POV)  
  
---Alice Sanders surrounded by darkness. A knife being   
held against her throat. Her face in total fear.  
  
Doe's face grimaces as he tries to understand what he just   
saw.  
  
INT. DARK BASEMENT - NIGHT  
  
Alice is terrified as the knife is still against her   
throat. She waits for what may happen next.  
  
AVATAR  
(in a low cryptic   
voice)  
Scream.  
  
ALICE  
(in a low sobbing   
voice)  
Please don't kill me.  
  
AVATAR  
(with a sterner   
voice)  
Scream NOW!! Or I will MAKE you   
scream for the last time.  
  
The knife presses closer to Alice's skin and a hint of   
blood can be seen.  
  
EXT. HOUSE IN THE WOODS - NIGHT  
  
Doe walks up to the house as he hears the screaming voice   
of Alice Sanders coming from inside. She is screaming   
"Help" as Doe's face fills with terror as he thinks of   
what's happening inside. He immediately runs to the front   
door and opens it.  
  
INT. HOUSE IN THE WOODS - NIGHT  
  
Doe hurries inside and stops just inside the living room.   
He lets his eyes adjust to the darkness. He continues to   
hear the screaming voice of Alice from somewhere in this   
house.  
  
ALICE (VOICE)  
(screaming and   
crying)  
HELP ME!! HELP!!!  
  
Doe realizes the screams are coming from the basement. He   
immediately heads to what he thinks is the basement door.  
  
CUT TO:  
  
EXT. RURAL HIGHWAY - NIGHT  
  
A convoy of police vehicles can be seen heading down the   
road. We see their lights and hear their sirens as they   
drive along route 48 heading north in a hurry.  
  
INT. DARK BASEMENT - NIGHT  
  
The basement door opens and we see Doe standing at the top   
of the stairs. Alice can still be heard screaming for help   
from bellow. Doe is looking down to the basement as he   
slowly heads down the stairs.   
  
JOHN DOE  
Alice?!....  
  
ALICE  
(from bellow)  
PLEASE HELP ME!!...I DON'T WANT TO   
DIE!!..PLEASE!!  
  
Doe gets to the bottom of the stairs and finally makes out   
the outline of Alice, with her hands strung up, alone and   
surrounded by a dark basement. Her back is to him as she   
cannot turn around all the way to see him.  
  
JOHN DOE (B/W POV)  
  
---Alice Sanders with her back to him. Shhe is in color   
surrounded by darkness.   
  
JOHN DOE  
(in a loud voice)  
It's going to be Ok.....Where is   
he?!! Are you alone?  
  
ALICE  
(crying in terror)  
HE'S HERE!! HE'S STILL   
HERE....PLEASE HELP ME...HE'S GOT A   
KNIFE!!  
  
Doe tries to look around the basement more. He doesn't   
know the outline of the room so he is keeping his back   
against the wall. He is making his way along the wall of   
the basement, knocking things over in the process. He's   
keeping one eye on Alice and another on his surroundings.   
Suddenly Doe jolts his head back as he begins getting   
another flash of visions.  
  
JOHN DOE (INT POV)  
  
---Flashing images of different people beiing tortured,   
stabbed, and shot.  
  
---A split second image of a man with blacck eyes coming out   
of the darkness suddenly. He screams the words; "TELL ME"  
  
We see Doe grimace at the horrible visions he's getting.  
  
EXT. PENDER FALLS ROAD - NIGHT  
  
At that same instant we see Theresa jolt back as she too   
gets flashes of images.  
  
THERESA (INT POV)  
  
---Image of hands carefully drawing in beaautiful penmanship   
the symbol of John Doe on what looks to be the Alice   
Sanders's letter that was left for the police.  
  
---Flashes of images of different people bbeing tortured,   
stabbed, and shot.  
  
Theresa holds her head in discomfort.  
  
THERESA  
(looking in the   
direction of the   
old house)  
Tommy!!  
  
We see her start to run down the gravel road towards the   
old house.   
  
INT. DARK BASEMENT - NIGHT  
  
Doe takes wipes his eyes as he keeps looking around, his   
visions seem to have gone away now. His hands feel for   
something on a shelf behind him. He grabs what looks to be   
a rusted pipe with his right hand. Alice can now tell   
where Doe is standing and is looking in his direction.  
  
ALICE  
(HYSTERICALLY)  
PLEASE....HE'S STILL HERE. HE'S   
GOING TO KILL ME....  
  
JOHN DOE  
(looking at Alice)  
I know he's here.  
  
Doe then looks around the room.  
  
JOHN DOE (CONT'D)  
(out loud)  
I know you're down here. The police   
are on their way. You might as well   
make a run for it while you still   
can.  
  
Doe moves closer to Alice, who is still crying   
hysterically. He gestures to her to calm down, still   
holding a piece of rusted pipe in his right hand and still   
listening to his surroundings for the killers next move.   
He's close enough now to see her face better. She looks at   
him with tired watered eyes.  
  
ALICE  
(in a low sobbing   
voice)  
I don't want to die. Please...  
  
At that moment Alice notices a dark shadow coming towards   
Doe from behind him.  
  
ALICE (CONT'D)  
(screaming)  
BEHIND YOU!!!!!  
  
Doe turns around immediately and starts to swing his pipe,   
but suddenly a small blue light of electricity can be seen.   
The buzzing sound of a high voltage stun gun is heard   
before we see the blue light touch Doe. Stopping in mid   
swing, Doe is bolted back by the electrical shock.  
  
Alice screams as we see Doe fall to the floor incapacitated   
by the shock.  
  
ALICE (CONT'D)  
(looking down at   
Doe)  
NO!!!!  
  
We now see the dark figure that is Avatar come out of the   
darkness. He is dressed all in black and his stocking cap   
is now a full face ski mask covering his whole face except   
his two eyes and his lips. Avatar slowly walks towards   
Doe. He stops and stands over him. Doe is starting to   
move slightly, he manages to turn and look up towards   
Avatar.  
  
ALICE (CONT'D)  
(yelling)  
LEAVE HIM ALONE!!!   
  
Doe tries to move more but he is still trying to get full   
control of his limbs. Meanwhile Avatar kneels down next to   
Doe. We see Avatar produce a flash light and point it   
straight at Doe's face now. Avatar seems to be looking at   
Doe's features. Doe grunts as he squints his eyes at the   
glare from the flashlight.  
  
Avatar just stares at Doe without saying a word. He then   
takes his free hand and puts it to his mouth. He bites   
down on the tip of the black glove he's wearing and pulls   
his hand out of the glove. Avatar then slowly places his   
exposed hand on Doe's forehead. Doe immediately reacts to   
the touch of Avatar.  
  
JOHN DOE (INT POV)  
  
---Face of a young woman. Brunette, with her hands tied   
around her back. She's wearing the black uniform of a   
catholic nun.  
  
---The same young woman struggling with heer captor. A   
knife being held close to her face. A medallion of Saint   
Thomas Aquinas can be seen around her neck.  
  
We see Doe's face pull back as Avatar's bare hand leaves   
his forehead. Avatar stands up and looks over Doe for a   
few more seconds. Doe stares at Avatar with a confused   
look on his face. Avatar then turns around and proceeds to   
calmly walk up the stairs out of the basement.  
  
CUT TO:  
  
EXT. PENDER FALLS ROAD - NIGHT  
  
We see police cruisers pull up past Doe's convertible and   
proceed down the gravel road towards the house.  
  
INT. DARK BASEMENT - NIGHT  
  
Doe is slowly getting up amidst Alice's pleads for help.  
  
ALICE  
(sobbing)  
He..He left..Hurry Please!!!  
  
Doe walks up to Alice and after looking at how her hands   
are tied to the basement ceiling, proceeds to grab and push   
her body up, just enough to free Alice's chains from the   
metal hook atop the basement. Doe has to help Alice walk   
as her hands are numb ans she is weakened by her ordeal.   
They both proceed to carefully walk up the basement stairs   
as it is the only way out of there.  
  
EXT. HOUSE IN THE WOODS - NIGHT  
  
Theresa has made it to the front of the house. She turns   
back as she hears police sirens coming up the road towards   
the house.  
  
THERESA  
(looking back at   
the house)  
TOMMY!!!  
(in a loud voice)  
  
INT. HOUSE IN THE WOODS - NIGHT  
  
Doe with his arm around Alice for support struggles out of   
the basement doorway towards the living room. He has heard   
the voice of Theresa outside. Doe looks around the living   
room as if expecting Alice's kidnaper from reappearing.   
They are making their way to the front door.   
  
JOHN DOE  
(yelling)  
THERESA! Don't come in here. We're   
coming to you.  
  
EXT. HOUSE IN THE WOODS - NIGHT  
  
Police cruisers are pulling up to the front of the house.   
  
THERESA  
(relieved to hear his   
voice)  
Did you find her?....The police are   
here.  
  
Just then the front door opens and we see Doe come out of   
the house with Alice Sanders in hand. She looks very tired   
and scared. Alice is hanging on Doe for dear life.   
Meanwhile Frank and Lt. Avery step out of one of the police   
cars, followed closely by Detective Tate and the rest of   
his task force coming out of their own cars respectively.   
Everyone has their weapons drawn and are heading towards   
Doe, Theresa and Alice, who are now waiting at the bottom   
of the steps of the house.  
  
Suddenly out of nowhere, the door of the house busts open   
and we see Lumber Jack face man charging out of the house   
with a wooden handle ax. He is screaming as he proceeds to   
swing his ax at the direction of Doe. He is not wearing a   
stocking cap and is not wearing any gloves. Immediately   
Lt. Avery and the rest of the police task force begin   
yelling at the suspect to freeze. Everything seems to slow   
down as we see Doe pull Alice and Theresa down on the   
ground. Police officers fire on the ax wielding man, who   
immediately succumbs to multiple gun shot wounds.  
  
After the shooting is over, we see some police officers   
tend to Doe, Alice and Theresa while other officers secure   
the body of the lumber jack man. Everything is still   
moving in slow motion as Alice looks up at Doe with   
frightened eyes. Doe looks down at her letting her know   
everything is going to be all right now. Theresa looks on   
while she is helped off the ground by officers. Lt. Avery   
and Frank are also there as Doe and Alice are helped.  
  
We see Detective Tate move towards Alice Sanders. He   
places a blanket around her. His eyes show a great deal of   
gratefulness as he realizes that Alice is for the most part   
ok and her parents will get to see their daughter again.   
He glances over at Doe with a suspicious look on his face.   
Doe still looks a bit woozy as we see Theresa, Frank and   
Lt. Avery surrounding him.  
  
CUT TO:  
  
INT. HOSPITAL EMERGENCY ROOM - NIGHT  
  
Doe is sitting on a hospital bed with his shirt off and his   
left arm raised above his head. Other patients are being   
treated in small emergency rooms around him. An emergency   
room nurse is finishing the application of antibiotics to   
two burned marks on the left side of his mid-torso. Frank   
appears and stands near the doorway looking in.  
  
NURSE  
All done. You can get dressed now   
Mr. Doe.  
  
JOHN DOE  
Thank you.  
  
The nurse grabs her things and walks out past Frank.  
  
FRANK  
You know, I think you're frequenting   
too many Hospitals lately.  
  
Doe smiles at his friends comment as he buttons his shirt   
up. Doe then grabs his jacket in one hand and proceeds to   
walk out with Frank.  
  
JOHN DOE  
How's the girl?  
  
FRANK  
I think she's going to be all right.   
All thanks to you I might add.  
  
Frank gestures to the other side of the Hospital Emergency   
room. Doe looks and sees Alice and the rest of the   
Sanders' family smiling happily at the current turn of   
events.  
  
FRANK (CONT'D)  
(looking at Doe)  
How the hell did you find her? We   
had half the city looking for her.  
  
JOHN DOE  
(looking at the   
Sanders family)  
Frank, I'm not sure.  
  
FRANK  
Well that might be enough for me,   
but I don't think it'll be   
enough....  
  
At that moment Detective Tate comes from the direction of   
the Sanders' family.  
  
DETECTIVE TATE  
Mr. Doe?  
  
Doe and Frank look over at Det. Tate.  
  
DETECTIVE TATE (CONT'D)  
(holding out his   
badge)  
I'm Detective Tate. I'd like to ask   
you a few questions if I may.  
  
Doe gives Frank and apprehensive look. Frank senses that   
Detective Tate would like to keep the conversation private.  
  
FRANK  
I'll go see how Theresa's doing.  
  
Doe nods at Frank, then glances back at Detective Tate.  
  
JOHN DOE  
How may I help you Detective?  
  
DETECTIVE TATE  
(smiling   
politely)  
Well, I'd say you've all ready   
helped me plenty today Mr. Doe. I   
just had a few questions if you   
don't mind.  
  
JOHN DOE  
Sure.  
  
Detective Tate starts flipping through his notes in order   
to begin.  
  
DETECTIVE TATE  
Now, Mr. Doe we've already   
questioned Alice Sanders about what   
happened during her time in that house. And   
in doing so she had some pretty   
interesting things to say about what   
happened when you got there.  
  
JOHN DOE  
Look Detective. I know how this   
must look to you.  
  
DETECTIVE TATE  
(his tone turns   
sarcastic)  
Do you Now? And how would you   
explain the way and the reason you   
found yourself connected to this   
case?  
  
JOHN DOE  
I really can't detective. But I   
assure you I would tell you if I   
did.  
  
Detective Tate is clearly not satisfied with Doe's answer.  
  
DETECTIVE TATE  
Mr. Doe, this case has presented   
some very unpleasant and strange   
facts. To tell you the truth, I'm   
having trouble believing your   
story. I know all about your work   
with Lt. Avery's Dept. But none of   
it explains how you were able to   
just see where a kidnaped girl was   
taken.   
  
JOHN DOE  
I understand.  
  
DETECTIVE TATE  
(crossing his arms)  
I don't think you do. You see Mr.   
Doe, no one is going to convince me   
that this little girl was taken by   
the man we killed today. The   
evidence is just not there for me.   
This man was just a common criminal.   
He has no history of kidnaping or   
statutory rape. Plus we may be able   
to verify that this suspect was at a   
local tavern at the time of the   
Sanders' abduction.  
  
Doe's face is one of expectation as he waits for what the   
detective will say next.  
  
JOHN DOE  
So what are you saying?  
  
Det. Tate looks at Doe intently now.  
  
DETECTIVE TATE  
(close to Doe)  
I'm saying, that that little girl's   
testimony is the only reason I'm not   
questioning you as a suspect right   
now. Because I think you're not   
telling me everything you need to   
tell me. I'm saying that you're   
connected to this killer somehow and   
rest assured I will be investigating   
this matter further, so don't go too   
far Mr. Doe. Because my gut tells   
me, we're going to be seeing each   
other real soon.  
  
Doe looks as Detective Tate sizes him up. Doe is about to   
respond to Det. Tate's insinuations, when Lt. Avery walks   
up to them.  
  
LT. AVERY  
(to both men)  
You two getting acquainted?  
  
Det. Tate takes notice of her, as does Doe. Doe chooses   
not to respond to the detective's threat.  
  
DETECTIVE TATE  
(to Avery)  
Just getting to know the man of the   
hour here.  
  
Doe keeps staring at Det. Tate.   
  
LT. AVERY  
You Ok John?  
  
JOHN DOE  
Yeah I'm fine.  
  
DETECTIVE TATE  
Well I better get going. I have to   
give a statement to the press.  
(to Doe)  
You're sure you don't want to come   
along Mr. Doe? Might want to take   
some of the credit.  
  
Lt. Avery gives a curious look at Tate's last remark. Doe   
just stares at him.  
  
JOHN DOE  
(catching a whiff   
of his sarcasm)  
No thanks Detective. I'm just glad   
its over.  
  
DETECTIVE TATE  
Well, for me its just begun.  
  
Detective Tate nods to Avery and Doe as he walks away from   
both of them.  
  
LT. AVERY  
What was that all about?  
  
JOHN DOE  
Just a little message for me.  
  
LT. AVERY  
Let me guess, told you not to leave   
town.  
  
JOHN DOE  
(looking at Avery)  
Something like that.  
  
Doe and Avery begin to walk out of the Emergency room wing   
of the Hospital.  
  
LT. AVERY  
Well you can bet, if this Avatar   
killer is still out there, you'll be   
seeing Tate again. That's the kind   
of guy he is.  
  
JOHN DOE  
An old friend of yours?  
  
LT. AVERY  
That's funny. I was going to ask   
you the same thing about Avatar.  
  
Doe looks at her with a bit of seriousness.  
  
JOHN DOE  
I'm not sure.  
  
Lt. Avery gets in front of Doe.  
  
LT. AVERY  
You know that's not good enough   
John.  
  
JOHN DOE  
(with a sigh)  
I'm sorry, I can't explain it Jamie.   
I found her the same way I found   
Theresa. She just popped into my   
head, and I went to her.  
  
LT. AVERY  
(with a frustrated   
look)  
Right. Well this might get you off   
the hook with me, but don't expect   
the same treatment from Tate.   
Especially if this killer IS Avatar   
and he's not the man that was shot   
in those woods.  
  
JOHN DOE  
The man you were looking for was not   
shot in those woods.  
  
LT. AVERY  
How do you know?  
  
JOHN DOE  
(with a confused   
look)  
I can't explain it.  
  
LT. AVERY  
(more frustrated   
now)  
All right. Lets just not talk about   
this anymore tonight Ok?  
  
Avery and Doe keep walking out of the Emergency Room.  
  
EXT. HOSPITAL - NIGHT  
  
We see Theresa standing outside with Frank. They are both   
having a pleasant conversation. Doe and Avery come out   
from the Hospital double doors and walk towards them.  
  
FRANK  
(noticing them)  
Hey, you two.  
  
Doe catches Theresa's gaze upon him immediately. She looks   
in good spirits.  
  
FRANK (CONT'D)  
(to Doe)  
I was just telling Theresa here   
about the first case we worked   
together John.  
  
JOHN DOE  
(nodding in   
acknowledgment)  
The Jenny Nichols kidnapping.  
  
FRANK  
Yeah, I was telling her how you   
managed to find that girl using your   
mad skills. And how you managed to   
bring us along for the ride.  
  
LT. AVERY  
Yeah we all had our first dose of   
John Doe police work on that day let   
me tell you.  
  
Everyone is laughing now, except Doe who just smiles.   
After a few moments of comfortable silence, Lt. Avery can   
tell Doe wants to speak to Theresa alone.  
  
LT. AVERY (CONT'D)  
Well I better get going.  
(to Theresa)  
I'll drive the car around.  
  
THERESA  
(to Avery)  
Ok.  
  
Doe notices this and is a little surprised.  
  
FRANK  
(wanting to give   
them privacy)  
I'll go with her.  
  
Frank and Avery walk away towards the parking lot, leaving   
Doe and Theresa alone in front the Hospital.  
  
THERESA  
I've been getting to know them. You   
all seem to be good friends.  
  
JOHN DOE  
Yeah, well, we've been through a lot   
together. I've helped them and   
they've surely helped me many times.  
  
THERESA  
(nodding in   
agreement)  
I can see that.  
  
An uncomfortable silence ensues. Doe looks at Theresa, not   
sure what to say next.  
  
THERESA (CONT'D)  
I've uh,...I've asked Lt. Avery to   
take me home if you don't mind. Its   
just that...I'm not sure if we...  
  
JOHN DOE  
I understand. I guess this whole   
thing still seems a bit awkward.  
  
THERESA  
No. Its not that at all.  
  
Lt Avery pulls up on her unmarked police cruiser. Frank is   
on the passenger side. Doe and Theresa take notice of it.  
  
JOHN DOE  
Will you be staying in Seattle?  
  
Theresa ponders her answer.  
  
THERESA  
Well,..I was thinking of moving on.   
But now, I don't think it matters   
where I go. You know?  
  
Doe nods as he understand where she's coming from.   
  
JOHN DOE  
Well, I sure would like to stay in   
touch if you don't mind.  
  
THERESA  
(looking at Doe   
intently)  
No. I wouldn't mind that at all.  
  
To this Doe smiles and manages to blush a little.  
  
THERESA (CONT'D)  
(motioning back to   
Avery)  
Well, I better get going.  
  
Doe moves closer to Theresa, but we can see he's not sure   
if he should shake her hand, hug her or even kiss her. He   
decides it would be best to hug her. But as he moves   
closer to hug her Theresa moves her head in front of his   
and Doe stops shy of her lips. Theresa then gives him a   
surprisingly long and passionate kiss on his lips. After a   
few seconds, they pull back, but keep their embrace a while   
longer as they stare at each other closely.  
  
JOHN DOE  
Hell of a first date, Huh?  
  
Theresa grins with a nostalgic look.  
  
THERESA  
(with a caring   
look)  
This wasn't our first date.  
  
With that Theresa slowly pulls away and proceeds to head   
over to Avery's car. She looks intently at Doe as he lets   
her hand slip away from his in the motion. We then see   
Frank step out of the passenger side and hold the door   
open for Theresa, who says good-bye to him as she gets in.   
Frank closes the passenger door behind her. Then he steps   
away and make his way back to Doe, who is looking at her   
still.  
  
We see Theresa's face looking at Doe through the glass as   
the car begins to pull away.  
  
JOHN DOE (B/W POV)  
  
---Avery's car pulling away and a color immage of Theresa in   
the front seat. Theresa puts her left hand flat on the   
window, saying one last good-bye to Doe.  
  
As the car pulls out, we see Doe and Frank left in front of   
the Hospital.  
  
FRANK  
(to Doe)  
Hell of a woman you got there Doe.  
  
JOHN DOE  
(still looking out   
to the direction   
where she left)  
That she is.  
  
FRANK  
You look like you could use a drink.  
  
JOHN DOE  
(smiling and   
turning to Frank)  
That I do. You look like you could   
use a ride.  
  
FRANK  
That I do.  
  
Frank and Doe smile at each other as they both make their   
way out towards the parking lot, where Doe's convertible   
has been parked. We pull back from them in a wide shot   
which looks at a lighted city in the distance.  
  
CUT TO:  
  
INT. UNKNOWN LOCATION - NIGHT  
  
We pan around a large warehouse loft looking room. Lots of   
neatly placed items can be seen. Finished and unfinished   
paintings. Pictures and photos of landscapes and famous   
world monuments along the walls. A piano piece of music   
can be heard around the room; it's "My Funny Valentine".   
We come around the room and rest on a Television News   
Program already in progress.  
  
ON THE TV SCREEN:  
  
We see a reporter with microphone in hand, standing in   
front of a police precinct.  
  
REPORTER  
So as this night comes to an end, we   
are happy to report that young Alice   
Sanders is back safe with her family   
and that our city's power blackout   
has now been completely resolved....  
  
We pull back from the tv screen as the reporter finishes   
his broadcast. We move across the room to where we see a   
massive computer desk. The outline of a man can be seen   
looking at the computer screen. We cannot see his face   
from behind the computer monitor. We switch angle to see   
what the figure is looking at on the monitor. We watch him   
from behind his right shoulder. He's looking at a missing   
poster picture of John Doe. The poster Doe has posted on   
line in a effort to find his identity.   
  
AVATAR  
(in a refined   
cryptic voice)  
Looking real good My Boy.  
  
We hold close on Doe's picture on the screen.  
  
FADE OUT.  
  
THE END. 


End file.
